Spyder-D

Duane Hughes, better known by his stage name Spyder D, is a former professional old-school rapper and producer from New York City.

Career

1980s

Big Apple Rappin', perhaps Spyder's most famous album from the post-disco era, was released on his own Newtroit Records in 1980, making him the first rapper to make an independent release. Another notable release was "I Can't Wait (To Rock The Mike)", released in 1986 as single, a version of the Nu Shooz hit "I Can't Wait". Other Spyder D releases include "Buckwheat's Rap" (released by Profile in 1985), and the house party hit "Smerphie's Dance", now an often-sampled cult classic.

As an artist and producer Spyder shared the 80s musical spotlight with fellow Hollis natives Run-DMC, LL Cool J, Davy D, Hurricane, Orange Krush and Alyson Williams. Childhood schoolmate Russell Simmons later became his manager and mentor in 1983. Spyder produced several more classics for artists such as Infinity Machine's DJ Divine, Sparky D, Roxanne Shante', as well as a string of independent record label hits for Profile Records, Select Records, Spring Records and a joint label venture with Next Plateau (launching Fly Spy Records). He also managed Power Play Studios in Queens, NY, from various stints from 1983 to 1998. He moved to Los Angeles for a brief stint between 1989 and 1992, where he worked with KDAY-AM's Greg Mack and Curtis Harmon.

Spyder co-engineered and recorded his first full album, Gangsta Wages, with multi-platinum "remixologist" Greg Royal, which was released through his own Hype-Hop label. The imprint was distributed through Macola Records who, at the time also had 2 Live Crew, and Dr. Dre’s World Class Wrecking Crew. Spyder also worked in the studio with Malcolm McClaren on writing lyrics for Sparky D for McClaren's Hip-Hop/Opera fusion.

1990s

In 1996, after once again taking over the reins as Power Play Studios full time manager, Spyder began a dual role as both engineer and manager for the renowned studio. He quickly learned the state of the art SSL G Series recording and mixing console from some crib notes given to him by chief engineer Dino. He brought back into the studio clients like DJ Run of Run-DMC, producer Larry Smith (Whodini, Run-DMC, Grandmaster Flash), Herbie Azor and Salt-n-Pepa, as well as bringing in new superstar producers like P Diddy Hit Squad producer Ron (Amen Ra) Lawrence.

In 1997, Spyder moved on to become manager and engineer for Gospel Jazz musician Mel Holder at Toy Factory, another Queens, NY based recording studio. At Toy Factory he engineered for such clients as Mic Murphy of The System, and Pharaoh Monch of Organized Konfusion, as well as on Mel Holder’s stirring saxophone rendition of R. Kelly’s "I Believe I Can Fly".

In 1999, Spyder moved to Atlanta, and began freelance engineering at Dallas Austin’s DARP Studios, and Bobby Brown’s Boss Recording, bringing with him some of his New York and northeast clientele, including Jam-Master Jay protégé Derrick Stanfield-Kivoi.

2000s

He released a full-length album in 2000 entitled True Dat, which didn't earn the acclaim of his early work.

In 2005, Spyder became the owner of an American Basketball Association franchise, the Charlotte Krunk (named after a type of hip hop music). Glenn Toby, founder of The Book Bank Foundation and former rap rival from Queens, New York (known then in the rap world as "Sweety G"), utilizing his knowledge gained as a sports agent, teamed up with Spyder D to help build the franchise. The franchise moved to Atlanta and joined the Continental Basketball Association under new majority owner Freedom Williams, the former lead voice for multi-platinum dance-hop group C+C Music Factory, where Spyder signed Grayson Boucher, of And 1 fame, and recruited Kenny Anderson as head coach.

Currently, Spyder is working on his autobiography and working out of his home recording studio on his final rap album, entitled Legendary, in honor of the people he has worked with over the span of his career.

Musical style

Spyder D's brand of music was characterized by a laid back attitude, humor, and skills on the microphone. In his live instrumental backing tracks he combined elements of jazz and funk.

See also

• Big Apple Rappin': The Early Days of Hip-Hop Culture in New York City 1979-1982