“This is a dream come true for me. Some bucket list s—t.”

That’s what Roc Marciano expresses to me during a Zoom call with DJ Premier this week, just before sharing his desire for fans to not only appreciate their new EP, but to play The Coldest Profession “into the ground.”

Surprisingly, the initial conversation about collaborating on a full project began nearly 20 years ago. The two artists crossed paths in the Armani section of Macy’s flagship store at Herald Square, NYC, as Premier was on his way to purchase some Phat Farm gear.

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This encounter occurred nearly a decade prior to Marciano’s reinvention in 2010 with the groundbreaking album Marcberg. This pivotal record played a significant role in revitalizing traditional East Coast street rap and ushered in a new era of artistic independence. Artists began to engage directly with their fans, minimizing reliance on record labels to define their marketing strategies, thus effectively eliminating the middleman.

The Coldest Profession is a collaborative masterpiece, showcasing the synergy of two musical geniuses. DJ Premier’s renowned production style crafts the ideal backdrop for Roc’s clever verses, which boast about being the most fly rapper you have ever heard.

Be sure to check out our in-depth conversation with this dynamic duo below.

Can you share more about your first encounter at Macy’s in the Armani section? Is that why the first single is titled that way? Do you both remember the moment you discussed collaborating on a project together?

DJ Premier: It goes way back. As fans of each other’s music, we often talked about, “One day we gotta create something together.” You know how it is when you admire another artist; the first thing that comes to mind is, “Yo, we gotta collaborate.” That’s usually how our conversations would end.

Roc Marciano: Especially with Preem. I don’t collaborate with everyone — but with Preem, yeah, we definitely had to make it happen.

P: It seemed like every time we bumped into each other, he’d say, “Yo, man.” It was almost as if I was doubting whether it was real or not.

R.M.: At that time, you were indeed skeptical; you didn’t truly know my potential yet. I was still raw talent waiting to be realized.

P: You earned your stripes, man. What’s interesting is that particular day, I was just passing through the Armani section out of necessity. I’ve always been a stocky guy, and those clothes weren’t designed for my build. I was just trying to get to another department for some Phat Farm gear when I happened to run into Roc, which reminded me of our earlier conversation.

When we finally decided to create something together, I reminded him of that encounter, and he suggested, “Yo, that should be the title of our first single.” Additionally, if you look at Roc’s song titles, they all have a unique flair that captivates listeners, much like clickbait. It compels you to check out what the song sounds like.

So, when you mentioned Phat Farm, this must have been during the early 2000s, right?

R.M. Absolutely, early 2000s.

P: We had a moment where you confronted me, saying, “Yo, man, what’s up? When are we going to do this?” Your energy was infectious. Back in February 2023, I attended his sold-out show in Brooklyn, and the crowd was singing along to every single word he delivered. I was surprised at how many songs I didn’t know. As a DJ, I pride myself on knowing lyrics from other MCs, and I’m familiar with many of Roc’s records.

Marcberg is undoubtedly a classic that stands shoulder to shoulder with Paid in Full, Run-D.M.C. albums, and those of Kane and KRS-One. Roc has a classic to his name, and it truly stands out. But that night, the number of songs the crowd was singing back to him made me take notice, and I found myself questioning why I didn’t know those tracks.

I approached him backstage and said, “Yo man, I’m ready.” He replied, “Yo, start sending me beats.” I committed to sending him a beat every day, and so the process began.

R.M.: Yeah, I’ve got more than one classic, Preem. I’ve got a few under my belt. [Laughs.]

P: Oh, indeed. There’s no question about that.

Without a doubt, I would say Reloaded is one of them. You have several great projects.

P: Given that this is the most recent anniversary, it’s being highlighted once again.

R.M. I know, you know. I’m just messing with you.

P: Exactly. And I’m glad that Roc and I are definitely a team.

Speaking of Marcberg, do you recall your first impression of that record? It came out during a transitional period when the industry was shifting to streaming and the blog era was emerging.

P: I’ve always appreciated his rhyme style. I even shared an interview from 2019 where I discussed how the voice is a crucial aspect of what draws me to collaborate with an artist. It seemed that once Marcberg dropped — considering Roc had previously been part of a group before going solo — his growth led him into a different lane. He cultivated a dedicated fan base that followed him almost like a cult — the good kind, not the strange kind — and it was evident that he was confident in pursuing his own vision.

As a producer, when I see that an artist is also producing themselves, it’s exciting. Even though Roc raps over other people’s beats, he has an extensive history collaborating with Alchemist. He also worked with Pete Rock in the early days and even had early connections with Busta Rhymes before fully establishing his solo career. Plus, introducing Stove God Cooks through Reasonable Drought was a classic move, in my opinion.

To see him taking charge as a producer and engineer while continuously releasing his own music at will shows a relentless work ethic. All of this contributes to my eagerness to connect and finally create something together that we can share with the world.

Marcberg was the catalyst for my interest, and every time I turn around, he’s releasing another record, another bundle, launching merch, embarking on tours, and collaborating with various artists. I wouldn’t be surprised if he announces three more albums the day before our project drops.

Roc, how did you find the process of selecting beats from Preem? Was it challenging?

R.M.: Not at all. Preem is someone I deeply respect and hold in high regard. I wouldn’t just let anyone produce for me; he’s one of the few I trust. When Preem sends you beats, they are intentional and cater to the project we’re working on. So, I’m ready to go. If I feel I can excel on a track, I’m all in.

P: Initially, we only intended to create three or four records together, but every time I sent another beat, he’d say, “Nah, let’s hold off. I’m going to work on this one too.” I’d respond, “Okay.” Then I’d send another one, asking, “Are we wrapping this up?” And he’d reply, “Nah, let me finish these other two.”

R.M.: I wasn’t ready to conclude our sessions. I wanted to keep the momentum going. I’d say, “Hey, come on, man, let me get two more.”

P: I was listening to The U.N. the other day because that stuff was so hardcore and raw. The ‘90s are often referred to as the golden era, and Roc embodies that spirit while still moving towards the future. It’s remarkable how consistent he has been throughout the years, and that resonates with me as well, especially when it comes to producing a steady stream of quality [dropping] content.

That’s why I admired Marley Marl so much; his name appeared on countless albums simultaneously. He collaborated with Kane, worked with the Juice Crew, Biz Markie, MC Shan, Kool G Rap, and Roxanne Shante. He’d even produce for Heavy D. To me, “The Symphony” marked the beginning of the collaboration era in hip-hop. Before that, it was typically just one artist with one producer, without features.

Now, during interviews, one of the first questions is often, “Who do you have featured on your album?” It has become part of the norm. However, with this project, it’s just Roc and me doing what we do best.

Were you able to collaborate in the studio for this project?

R.M.: We did have some sessions together, but I also completed beats he sent to me from my home studio.

P: “Prayer Hands” was one of those tracks we worked on together [to record].

Do you take a different approach when producing a full project for one artist compared to contributing to a larger album?

P: Everything comes from a DJ mentality for me. I’ve done mix-show radio and DJed parties. I can cater to any crowd. I used to DJ for Derek Jeter, and he preferred more mainstream Hot 97 tracks, but I’d still deliver a killer set, transitioning from underground artists like Snoop Dogg to classic tracks from Big Daddy Kane and then into a Roc Marci record. This DJ approach embodies a tastemaker mentality.

The same principle applies to how I create music. When I’m crafting tracks for Roc, I tailor them specifically for him. I don’t just grab random beats from my stash. That’s why “Armani Section” was the first beat I sent him; it felt like a signature Roc Marci track. I’ve studied his style extensively, so I thought about how to present it in my way while still aligning with his essence. When he sent me the vocals back, I knew we had something special. We quickly started discussing the video.

My videographer, who handles all my content, and I flew to L.A. within 24 hours and shot the video. The Alchemist graciously allowed us to use his studio and even lent me his Maybach. The best part was that Roc has one too, so we had a fun time showcasing our cars. We went to Rodeo Drive, no permits, just in and out, and I was back on a plane to New York to start editing. It was an incredibly enjoyable experience.

So, Roc, how was the experience for you? Did you have any input on the beats or samples, or was it a different process for you?

R.M.: Nah, you don’t dictate what Preem does. Preem is the big homie, so working with him is bucket list material. That’s why he would say back then, “Yo, when are we going to get one in?” I’ve put in my work, so this feels like a dream come true. I completely trust his ear. In this scenario, I take more of a student role. I’m usually the teacher, but collaborating with someone like Preem requires a mindset of learning. That’s how I approached it.

Do you believe you have enough material for another project?

R.M.: I think we only left out one track.

P: We’ve already discussed doing another one, but I don’t want to pick up from where we left off. I’d prefer to start fresh.

How long did it take to complete the entire project?

R.M.: It probably took about two years.

P: Yeah, we were on and off. He had other commitments, tours, and projects to manage before this one. We even pushed this release back; it was originally slated for two months ago.

R.M.: However, once we locked in, we wrapped up in about a month. The time off was what prolonged the process; we took a year-long break before diving back in.

Roc, you underwent a significant transformation with Marcberg when you were in your 30s. Now, with Clipse making a comeback, and artists like Slick Rick and Raekwon releasing solid albums, it seems older rappers are thriving more than ever. Growing up, I remember hearing that rap was a young man’s game. Why do you think that perception is changing?

R.M.: Because it’s simply not true. It’s not like athletics; your body doesn’t break down at a certain age. I believe that as musicians, we should improve with time. So, I don’t subscribe to that notion. It’s a myth that’s been imposed on hip-hop. Other music genres don’t face the same scrutiny. It’s a misconception that the industry prefers artists to stay young and naive to exploit them. Once rappers mature, they begin to think for themselves, and the industry tends to overlook them.

P: Absolutely. We entered the scene young as well. When Roc emerged in the game, he was quite young. I was only 21 when I joined Gang Starr. Our albums consistently climbed the charts, eventually achieving gold status and back-to-back gold albums. We matured organically, without the pressure to go platinum on our first release and falter on subsequent projects.

I believe that’s another critical factor. By continuously expanding our catalogs and improving, we grow our fanbases incrementally. Just like Def Jam used to be, where anything they released in the early ‘80s and into the ‘90s was trustworthy. As the quality diminished, the product lost its shine.

However, artists like Roc and myself are acutely aware of why our fanbases remain loyal to us. We know how to serve them consistently, ensuring they are never disappointed with any release.

The Rolling Stones are touring, and they’re in their 80s.

P: And nobody bats an eye. They’re playing to stadiums, and they aren’t limping around or using wheelchairs.

R.M.: Al Green is still out there performing. George Clinton and others are still on stage. It’s just a stereotype they’ve imposed on hip-hop. Clearly, we’re breaking that mold now.

And Preem, how do you feel the industry has changed for you as you navigate it today compared to when you were emerging?

P: Focus on your brand and how it connects with your core fans, those who have supported you from the beginning. Roc and I, along with The Alchemist, are fortunate enough to operate our online stores, selling our merchandise, vinyl, CDs, and cassettes. Whenever I drop something, it sells out, proving that it’s organically reaching the consumers who love us and desire more.

We all aspire to reach greater heights, but not at the expense of our creative integrity. I’m not interested in the kiddie rap or what Roc refers to as “nerd rap.” That’s a separate lane, and the beauty of it lies in the variety, akin to “31 Flavors” at Baskin Robbins. And for those who don’t understand, we weren’t creating for them anyway.

What other projects do you have in the pipeline that you can share with us?

R.M.: I have so much going on. I’m starting a new tape with Rome Streetz, who’s supposed to come to my studio today. I also produced a track for my man GREA8GAWD. I prefer not to disclose too many details, but I’m working closely with Errol Holden.

Yeah, NCB actually introduced me to him.

P: He’s incredibly talented. My publicist connected me with him since he’s been working with him. I run my “Bars in the Booth” series, and my publicist asked if I’d consider having Errol on. I was curious, “Can he rap?” They replied, “You tell me.” I checked out his page and became an instant fan.

He has a distinctive flow that reminds me of spoken word, akin to The Last Poets.

R.M. He’s the real deal. Errol and I are working closely together. That’s family right there. You all are going to love it.

P: He’s someone you want to craft unique tracks for because you can anticipate how he’ll approach it even before hearing his lyrics.

Do you have plans for more videos or a tour for this project?

R.M.: Yes, we’re filming more videos very soon. I know Preem is preparing to tour with The Alchemist, so you all will be busy, but I’ll pop out to join you.

P: That’s in three months, so we have a little time to prepare.

R.M. I’m scheduled to tour in September.

P: It’s incredible how many tours we’re doing, as if we’re newcomers. It’s a blessing to engage in what we love. We both enjoy performing and appreciate the entire aspect of the game. We also understand the importance of respecting this field, which is why we take full advantage of it, ensuring we can thrive from what we create.

R.M. I still feel fresh in this game. I haven’t peaked yet, which is the exciting part.

P: I performed at Bastid’s BBQ in Toronto, and it was sold out. I told the crowd, “I’m 59 years old, don’t let me outshine you. None of you are near my age.” They laughed, but I was serious. Give me that energy; I’m here to give my all.

Do you feel you’ve improved as a producer overall?

P: I can always revert to my earlier style, and it’s attainable. You can hear it across all music formats. However, the fun lies in demonstrating that I can still do it differently today. As Guru would say, “We just update the formula.” If it was 2.0 back then, now it’s 10.0, and the beast is still at it. I appreciate what RZA mentioned on Drink Champs: “If you listen to any Premier record, there’s always scratching in the hooks or somewhere in the track.” That’s something he admires about my style — the scratches are always present.

When I was coming up, scratching was integral to hip-hop records. From Terminator X on Public Enemy records to Marley Marl and Mister Cee on Kane records, scratching was everywhere. We incorporate elements that make a record complete. Even in the way I scratched on this project with Roc, it’s fantastic. A fellow DJ who understands the craft said, “Yo, the way you scratched on this Roc project, it sounds like you’re doing Roc Marci-style scratches.”

He was right — I avoided my usual connecting hooks, allowing space for Roc’s ad-libs. I’d wait for his “ugh” before adding another line to avoid overpowering his delivery. That’s what I call some Preem Marci scratching.

R.M.: When we discuss growth, especially regarding this project, I’d point to tracks like “Glory Hole.” I’ve never heard you create a beat like that before. It showcases your evolution, and it’s captivating.

P: The scratches are minimal, placed strategically. I remember adding a note when I sent it to him, “You know it’s a little different; I’ll add more if needed.”

R.M. We’re not dodging any challenges. I’m ready for whatever comes our way.

P: He delivered exactly what the track required. I can already envision some amazing women dancing to that beat.

Now that you’ve produced this entire tape for Roc, can we discuss the long-awaited project with Nas that everyone has been anticipating for decades?

P: Man, that project was supposed to materialize almost 20 years ago. When people would inquire, I’d say, “It’ll happen when he’s ready.” I’m always prepared, but I don’t press him. The MC needs to be the one to lay down the lyrics; I never push him unless he initiates it.

Everyone would constantly ask me, “When is it happening?” Then one day, he called and invited me to his 50th birthday party. At the party, he said, “Let’s announce the project with a record; it’s time.”

“Define My Name” wasn’t intended to be a major single; it was merely a quick announcement track. He suggested we make the announcement there instead of through social media. So we did, and now the wheels are in motion.

Are you planning to work on full projects with other rappers in the future?

P: Absolutely, I have my in-house family projects in the works. Big Shug, one of the co-founders of Gang Starr with Guru, and I have discussed me producing an entire album for him once he completed his time in prison. We finally wrapped it up and are now in the mixing stage. It’s titled Undefeated, so look out for that.

Additionally, I’m working with a group called the NYGz. These are the over-50 rappers who can still deliver hard-hitting lyrics. Shout out to Panchii and Shabino. I produced their entire album, and it’s going to surprise a lot of people. It’s adult rap with relatable topics. While I usually don’t promote my projects, I’m confident it will deliver as intended. I also collaborated with Ransom on an EP. I have several EPs ready to go.

The EP era is becoming exciting, as you can create five tracks and be set to release. Plus, it helps keep your name alive in the industry as long as you collaborate with artists who know how to deliver, as I certainly will.

Do you feel it’s easier to be an independent artist today?

R.M.: Yes, I would say so. We have online stores and social media, eliminating the need for middlemen. It’s definitely easier now, allowing us to communicate directly with our audience.

P: Moreover, you no longer have to wait for six other albums from the label to drop. If I want to release something tomorrow, I can, and that’s the beauty of it.

R.M. Freedom is everything.