INTERVIURI

[DECRET]

Haha. Stiam ca Triple H vrea sa-l dea in judecata pe The Game pt nume insa nu imi imaginam ca s-au aprins spiritele asa tare. The Game e pueril cand zice ca-i rupe curul, HHH e cam de doua ori cat Zmarandescu

[Jove]

Hot97: So what's up? How do you feel? You 20 years in this whole...

LL Cool J: Whole worldwide movement! (laughs)

Hot97: Yeah. Ok so...is hip hop dead? Nas is ready to drop his first album on DefJam. It will be good DefJam for him? For you it was made actually so you must know better.

LL Cool J: Nah. Ask Jay. He runs this shit now. I mean Hip Hop isn't what it used to be that's what Nas want to relate. Facts are that Hip Hop is now somethin like any other thing in this world, sport, other music or other sequence in life...it was all good at the beginning now it's all about the money. Media ruined hip hop among with the download sites and D4L type of "rappers" if I could call them that.

Hot97: True, Kingdom Come just came out in the streets and it's a smash! What do you feel bout Doctor's Advocate? And what about Jeezy beyin' actually for 2 years king of New York?

LL Cool J: Hmm...Kingdom Come it's normal to make noise out there, I mean you got Jay Z again with another album. Cat is used ti throw good shit in records stores. Game's album I ain't feelin' too much. He should stayed on The Documentary but overall it's a quite good album. You know these days rappers are different. Feel me? Where's the soul in this Game? Jeezy? He brings fire but I think this shit like King Of New York can't be made. I mean in 85-91 era I was sliced as the king of New York, than was Method Man, Raekwon, Biggie, Nas, Jay Z, 50 Cent and again Jay Z now It's Jeezy. This is superficial I think New York has Kings not just one King.

Hot97: What about Todd Smith Part. 2? You said this will be officialy your last album. You have 10 album with platinum and 2 with gold. Last 2 were not on your style or at least that's what streets said.

LL Cool J: (laughs) You know what's funny? I had 10 albums too good to have another 2 more about some relaxing shit something that I wanna see for myself? I mean damn I ain't mad over that. Who has 10 albums all platinum packed? That's why I'm The G.O.A.T. cuz everything i dropped for 18 years got platinum. When my album hit stores you know how it was. Oh my God LL drops his shit. (laughs) Yeah....about my last album It's gonna be my retirement album. Dr.Dre, Kanye, Hi-Tek, Scott Storch, Prodigy will be for sure behind them tracks. As for guests ... wait and see. It gon be the Number 11 Platinum Disc.

Hot97: Hope so. Oh my god you still lookin' hot. Who do you thinks actually runs hip hop right now?

LL Cool J: Hip Hop runs Hip Hop...actually Entertainment, Business and Media runs Hip Hop.

Hot97: Yeah but what about artist?... Who do you feel right now?

LL Cool J: I got a lot of respect for cats like Lupe, Pap, Banks, Juelz or South is up too. It's another movement in Hip Hop History. First period when Southern Rap Artist are all over the Hip Hop stage. It's their time. T.I., Jeezy,
Lil'Wayne, Chamillionaire and most of the cats are nice.

Hot97: You said somethin' bout D4L?

LL Cool J: (laughs) Man, they are like some spaghetti moguls or sum ish like that. I mean there ar too many corny wack ass rappers gettin' too much money for a bunch of Flaffy Taffy shit. Who is Mike Jones actually? Too much hate and too much beefs around. Too bad that these cats were not in the 80's-90's cuz I will have squashed the shit outta their diamond-dickridin'.

Hot97: (laughs) oh my god. That's horrible! What if they all gon diss you and than ..

LL Cool J: Than they will loose their job. These cats or idiots are ignorants. So sad... so sad for the hip hop game...To tell the truth Imma hit these lil niggys in the head like cheese sponges. Too much arrogance in this shit...and they not gangsters they not rappers they just wannabe humans. Straight up. You don't like it? Suck some dicks like my man X said once.

Hot97: God damn so we will all remember LL Cool J one o the pioneers of Hip Hop and one top 5 artists in Hip Hop History.

LL Cool J: Thanx. But that's not my target. My target is that Hip Hop will not let these cats rumble it cuz they can't just handle it right. And another advice for the world. You wanna help hip hop?... Start buyin' them fuckin' albums and stop chewin' every time antoher records from a electro-pop artist who pretends he's a real nigga. Now let me move my silk. Goat is out!

[Bazooka Joe]

Haha. Stiam ca Triple H vrea sa-l dea in judecata pe The Game pt nume insa nu imi imaginam ca s-au aprins spiritele asa tare. The Game e pueril cand zice ca-i rupe curul, HHH e cam de doua ori cat Zmarandescu

wrestling addicted hahaha )
o sa vina cu shawn michaels sa-l bata pe the game =)))
ce caterinca de caterinca

[Bazooka Joe]

And another advice for the world. You wanna help hip hop?... Start buyin' them fuckin' albums and stop chewin' every time antoher records from a electro-pop artist who pretends he's a real nigga. Now let me move my silk. Goat is out!

quoting LL

[DECRET]

wrestling addicted hahaha )
o sa vina cu shawn michaels sa-l bata pe the game =)))
ce caterinca de caterinca

De unde stii mah de Shawn Michaels? Ne urmaresti emisiunile?

[Bazooka Joe]

wrestling addicted hahaha )
o sa vina cu shawn michaels sa-l bata pe the game =)))
ce caterinca de caterinca

De unde stii mah de Shawn Michaels? Ne urmaresti emisiunile?

ce emisiuni ba? cand ma uitam eu la wresztling acum 7-8 ani nu stiati ce-i aia )
wwf, wcw ...yeah ... toti greii
hai ca sunt offtopic

[Jove]

50 Cent First time in a period talking bout his plans ! Great Read !


50 Cent the man who we thought he was? First coming out with his first major album Get Rich Or Die Tryin' selling over 12 million to date. Then his second release The Massacre selling over 11 million to date, combined over 23 million on two albums. Not counting his soundtrack for his Get Rich Or Die Tryin' movie sold over a million. So whats changed for 50? After label mate The Game departing from G-unit, many rising beef, many think G-unit is slowly declining. After label mates like, Mobb Deep and pal Lloyd Banks both flopping one after another. Coming soon is 50 Cents third studio album, after Young Bucks, Buck The World and Hot Rod's, Fastlane. HHDX.com's Ronald Prince sat down with 50 a couple days ago to discuss many things. Including his next album, date of release, title, his label mates next albums and his controversal beef.

HHDX: Now thats 07 is getting closer, there is a question of when 50 Cent's next album is going to drop. Can you tell us when that is?

50: My album will be dropping the first quarter of 07, around February. After Buck's and Hot Rod's next albums.

HHDX: What about Olivia?

50: Olivia album will probably drop around mines. A little after my album.

HHDX: Whats been the big wait?

50: Well, her album changed. She started totally over. She's started her album Second Chance. Which is brand new, all the other songs off of Behind Closed Doors is gone. Like Twist It with Lloyd Banks, So Sexy, and Best Friend with myself.

HHDX: Oh, so whats your album all about. How far are you done with it.

50: Aw man, im about three-fourths done. Still gotta do finishing tracks for it.

HHDX: What can we expect from this album.

50: Aw man, another great album from myself. There will be more guests then usual. More than Get Rich Or Die Tryin' and Massacre. More outside the camp, and inside. And a newer sound to it.

HHDX: Whats the title of the album, and is it going to be a double disc?

50: Um, im not sure the title yet. I keep looking on the internet and I see all the rumored titles. Its funny man. And it looks like its going to be a double disc.

HHDX: Who's all going to be featured on the album?

50: All of G-unit. Banks, Buck, Tony, Mobb Deep. I got Olivia on there, M.O.P is on there, Spider Loc, possibly Mase. Lil Scrappy. From outside the camp, I dont wanna give to many names. But to list a short few, I got a joint LL Cool J, Ludacris. I got a track with me, eminem, and Dr. Dre all together, but I dont wanna tell to much [Laughs]. Im not even finished yet, so there could be more to come, I dont know.

HHDX: I heard two rumors. 1, that your making a maga-mix for one of your songs to compete with Game's One Blood Remixes. And 2, I heard that your getting a N.W.A track together, too.

50: [Laughs] Aw man. Im not letting anything outta the bag yet. Let me just tell you this, anything is possible.

HHDX: What do you got for production wise?

50: So far, I got a couple Dre tracks, a couple Eminem tracks. So far one Scott Storch, im trying to get back into the studio with him again for the album. Havoc's on there, Timbaland, Sha Money XL. I got a Lil Jon track on there with Buck and Scrappy on there, shit is crazy man.

HHDX: How did you get Dr. Dre on your album, and on Game's album there wasnt Dr. Dre on it at all.

50: The reason Dre wasnt on his because I didnt work on it. The deal was, me and Dre work on it, Game didnt want me working on it, so Dre didnt work on it. It was either both of us, or neither. Dre knew that. Game just goes around talking about shit he doesnt even know.

HHDX: So you were willing to work with Game again.

50: No no no. It was like this. Me and Dre were suppose to be the Executive Producers on the album, so we were going to make money off the the album, Game didnt want that. So we decided to get Game off of Aftermath, he went to Geffen, thats it.

HHDX: So Game was kicked off of Aftermath.

50: Thats what I said. But yo, let me tell you something man.

HHDX: [Laughs] Yeah.

50: If Game can do well without Dre on this upcoming record, then he'll prove something. He didnt do it in The Documentary. He had me and dre with him. Look at his first three records he put out. Westside Story, produced by Dre and featuring me, How We Do, produced by Dre and featuring me. Hate It Or Love It featuring me, produced by Cool & Dre. Ya know, he had heavy hitters on his first 3 singles. Thats what made him move units. Me and Dre. Then he came out with Dreams way after his album dropped. All that record did was keep his name in the streets. Then he put out Put You On The Game, after he got kicked outta G-unit, and what happened, it didnt do shit.

HHDX: Yeah. But One Blood did pretty good. Let's Ride didnt do that great, but One Blood did alright.

50: Yeah, that was a street single. Ya know? Look at Disco Inferno, that went beyond anything One Blood has done. Did you know one blood doesnt even have a chorus? He doesnt know how to make a hit record, he cant write a hook so he just has some n**** in the back round yelling one blood the whole time. [Laughs] Ya know? Its pathetic, he's pathetic.

HHDX: Can we expect a disses on the album, towards Game along with the others?

50: You can expect a couple diss tracks on there.

HHDX: I hear that Lloyd Banks is dropping a new mixtape, More Money In The Bank Part. 5. And I hear that there will be alot of disses towards game. I also heard Yayo say your going to Ja Rule Game.

50: [Laughs], just go out and buy it. You wont be dissapointed if you think that there is disses on there. [Laughs] And if I want to Ja Rule Game, I could easily do it. I got too much material for that little n**** man. He'll be over soon.

HHDX: Well I heard Game on Wendy Williams talking greasy saying that G-unit is done?

50: [Laughs] Oh I didnt see that. It doesnt matter, next week he'll probably be on the radio saying he wants to squash the beef.

HHDX: Do you think G-unit is winning the beef with Game?

50: What beef? Man we havent even put out a serious diss track towards that n**** man. I put out my joint, which I chopped that shit up quick, like it was a freestyle. Ya know? He had to put out like 3 mixtapes, a DVD and all this shit to make a point. He wasted 300 Bars on me and my crew. n**** ill put out 1 bar and get the job done. But look at it this way. His debut album, what did he sell his first week? He went over gold or something, I went 800K. What was his total 5 milli. I went 12 milli. What about out second record, what has he done his first week? 300K. n**** I went 1 mill my first week! I went 11 milli total. Is he gonna even get past 1 million on this whole record? I doubt it. If he wants to talk about numbers we'll do it.

HHDX: Yeah, you speaking the truth. What do you think of Buck's new album? Have you heard it yet?

50: Aw man, his record is crazy man, ya know. He's got a great lineup of producers with some great features.

HHDX: Are you on it, other than Do It Myself?

50: Yeah, there's a record with, Me and Buck on a Dre track.

HHDX: Whoa. Yeah, I was feeling that Do It Myself record.

50: Yeah, Buck is bringing that heat for this album man. Be ready for that!

HHDX: So i've heard your signing alot of movie roles. You've got Home Of The Brave coming out.

50: Yeah I got that coming out with Samuel L. Jackson, Jessica Biel. I also got a new movie where im a boxer, called The Dance. With Nicholas Cage.

HHDX: When's that coming out?

50: Im not sure, we havent even started filming yet. We still got to do a couple things, then we'll start filming and shit. My guess is late 07.

HHDX: I also hear you signed to do a movie with Robert De Niro.

50: Yeah, its called New Orleans. Takes place after Katrina. Its gonna be fun man.

HHDX: I was listening to a interview with Young Buck on SHADE 45, and he was getting upset with Lil Wayne, and says that he started a war with them. Anything you gotta say about that?

50: Anything Buck does, im with him 100 percent. He was there when I ended Ja Rule, so ill be with him when he ends other n****s.

HHDX: Also whats with this Dipset situation?

50: Man, I take this Dipset shit as a joke man. Its nothing big, they dont want problems man. First I hear Jimmy on G-unit radio talking like G-unit and them are friends and shit. Then I hear him in a interview saying Yayo is a hater and shit. I dont know man.

[Alin-San]

Del The Funkee Homosapien: Making The People Happy


When you think of West Coast hip-hop, most fans direct their attention to Los Angeles. Because of this, artists from the other West Coast hip-hop capitol, the Bay Area, have done their best to establish their own sound and these days their own movement and popular culture has come to know as the Hyphy Movement. Although there is differences, there are so many similarities; the one similarity that holds true still to this day is the foundation of the Funk era of black music history. The marriage of funk and hip-hop has produced many artists hailing from the West and one of those offspring goes by the moniker Del The Funkee Homosapien.

Having no plans to go on his funky journey alone, Del recruited some foot soldiers with the same intensity and desire to keep it black and funky. With Del The Funkee Homosapien at the helm the Bay Area gave us one of the most underrated and understated bands in the culture, The Hieroglyphics. The man who brought us "Mr. Dobalina" had his share of the politics that plague true artistry from reaching the masses via his time spent on Elektra Records. After his label woes, he took the his career in his own hands and released his greatest work to date on his label, Hieroglyphics Imperium.

Del says his latest album, 11th Hour, is a fresh start into the business he's spent more than ten years in. Going in it alone on this new album, Del experiments with sounds and has more fun this time around. Don't expect to hear a less aggressive sound coming from Del though; he's just doing what he does best, making good music.

Fresh off a recent tour, Del spoke with Ballerstatus.com about what he's been up to and to introduce his fans to the artist he is today.

Ballerstatus.com: Maybe you can clear something up for me, are you and Ice Cube really cousins?

Del: Yeah, he's my cousin on my mom's side and we grew up kickin' it.

Ballerstatus.com: How years in the game for you now?

Del: It's been about sixteen years now.

Ballerstatus.com: You've been a mainstay in this business without being a mainstream artist and have done well for yourself. Is that something you're cool with?

Del: For me, that stuff doesn't matter. I just love doing music and where ever that takes me or had taken me is cool with me. I will say that nowadays, I'm a little more conscious about what my abilities are and where I can go with it. I am not trying to be more famous for the money, but the more people who listen to my music the better. That will result the in more money and I can't be mad at that.

Ballerstatus.com: You have established yourself as an emcee and you speak about things more conscious. How do you feel about the shows you pack out being full of white people?

Del: It's all good, its all love. Whoever came out to listen and see you perform are your fans. What am I going to do be mad and say "ugh?" Then ain't nobody going to be listening to me. But at the same time, it's not like I don't want my brothers and sisters to be at the shows. You know, a lot of the times I think I sabotage myself by making things hard to get into. That is one thing I tried to design a little bit better this time around, making my music a little bit easier to get into. I don't think that music should be a homework assignment.

Ballerstatus.com: An artist having longevity/name recognition is a thing of the past. What have you done to make that happen for yourself?

Del: Basically, I just learned music and learned how to better dictate what my album would be about and the rest was pretty much left up to chance.

Ballerstatus.com: You came up in an era of hip-hop when you had to be lyrical or have skill in order to be recognized, some would say that is not the case anymore. Do you feel a way about that?

Del: I don't believe the hip-hop standards are gone completely, but I'm hip, you feel me? I'm into the new stuff; I'm not one of those cats who are like, "..back when I was your age..." I'm still young, so I am hip to the new stuff. I like the new little flows that people be making up. I like the new direction of music a lot of times and it's all based on the same source, the blues.

Ballerstatus.com: How would you best describe your contribution to hip-hop?

Del: Hieroglyphics as a group, hard-core lyricism and free-styling. I think that is a real big contribution. We had like coming off the head with it. I think that is what we are best known for, but I think we have a lot more ahead of us. Before getting to this point, I really didn't know music. I was really just winging it, but now that I know what I am doing, I have a lot more ahead of me. I feel like I'm just getting started.

Ballerstatus.com: Based on the all the politics and the realization that you are in a business, that is not in the best interest of its breadwinners. How have you strengthened yourself as a businessman?

Del: I've always been business-minded because I'm about my business. If it has to do with me, then I'm serious about it. I just read more about it, learn more about it. I can't say I'm fully schooled in it, but I do understand how business works. On the artistic side, I do try to be in tune with what the people want to hear and try to be hip to what's going on. Within the parameters of that, I go ahead and do what I'm going to do. Not saying that I copy trends or nothing like that, but I am aware of what's going on. I'm not just going to throw anything out there at this point. Now, it's like, "Oh that's what you guys like? Ok, I can do something in that range that you can feel." I know the music I make is going to be different because it's me.

Ballerstatus.com: With that being said, would you say you are dumbing yourself down?

Del: No, I wouldn't call it dumbing down because I don't think the people that listen to music are dumb. I'm one of those people who listen to the music and I know I'm not dumb. I don't think music is necessarily about intelligence anyway; it's entertainment. If I buy your album, I want to be entertained period. There are a lot of people I like artistically, but I don't play their albums all the time. If I'm bored, I might go dig in the crates and pull their music out, but the music I listen to all the time, I expect it to entertain me.

Ballerstatus.com: Along with being lyrical, you're sound is also very aggressive. Will your new music still have that feel?

Del: I would say my music is more aggressive then it's ever been. I've dealt with some stuff in my life that has made my attitude a little funkier. I ain't mean to people or nothing, but I'm pretty rebellious. At the same time, I feel like now that I know what music is about, I pretty much figured out people expect melody out of music and anything that is not melodic, in most cases, people consider it noise. I take that into consideration when I am making my music and I try to make it as easy to get into as possible without conforming.

Ballerstatus.com: It's the era of the producer and not for nothing, if you are linked up with the Scott Storch(s) you get some notoriety. As an artist/producer, how are you dealing with that?

Del: I look to those guys and feel like those are the guys that I am competing with... oh, this is what the Neptunes are doing, Timbaland is doing this, Dre is at this level with it, and again, not copying, but I am most definitely taking note because that is where I am supposed to be. People go out and get these guys because their names stand for something; they've proven themselves. When you see their name on the cover, you're probably going to buy that over something you've never heard. Musically, I try to look at these people and measure myself against their level of expertise and it may be something simple, but that's the beauty of it. It's easy to make something chaotic, the world is full of chaos anyway. To make something simple is the way to go. Sly Stone said it best "Everyday people want simple songs."

Ballerstatus.com: Have you considered working with any of the names I mentioned?

Del: The Neptunes listened to Hieroglyphics, I wouldn't mind working with Pharrell. I hella like dude. I most definitely wouldn't mind working with Dr. Dre. I think [Dr. Dre] is out my league. He's the master, but I wouldn't mind working with him. He's probably sort of a taskmaster. I wouldn't mind working with any of them. On the other hand, I wouldn't mind working with LT [Hutton]; LT is a great musician. There's Show Biz or A.G., they're hella tight to me and they all have their own style. You can add 50 in there, I don't hate on nobody. But, I like cats that have flavor. Oh yeah and Nas, I would like to work with Nasty Nas.

Ballerstatus.com: What do you have going on right now?

Del: I have a new album. It's called 11th Hour. I've been working on it for a couple of years now and I would say with this album, I am just getting started. I'm basically trying to lay down the ground work for what Del The Funkee Homosapien is all about, what my attitude is about, where I get my attitude and really putting it out there, so the people can understand where I'm coming from. I'm not dumbing it down, but I am being more conversational about it. I think music should be conversational, it's not like writing a novel. This is something you only have like three/four minutes to convey and really, you only have like thirty seconds before someone says "that's tight" or they turn it off. That is the vain I working from where people are like, "I'm feeling him, dude is tight," where before I was more concerned with expressing myself. I learned over the years, it aint only about what I want to express because it ain't just me; it's the audience and me. I've learned to have an appreciation for the people out there.

Ballerstatus.com: Who are the people featured on the album?

Del: There aren't too many features on the album. I pretty much went to the head with it. It wasn't that I didn't want anyone on the album, but the situations I was in, it just worked itself out that way. My boy K.U., we have a production company, Code Red and he did a track for me and rapped on it as well. It was just me this time around. I did make sure I balanced it out. If something sounded too much of the same, I switched it up to give it more dimension, but if I didn't throw a whole bunch of stuff on it, I kept it consistent.

Ballerstatus.com: What song on this album best embodies all that you are as an artist?

Del: Probably "Raw Sewage," "Back in the Chamber," "Things We Go Through"; you know, I have a couple of them like "Straight Up & Down." Yeah, that is the one that pretty much embodies everything I'm talking about. But every song I try to do that. I try to let my personality show and expound on a lot of different things. It's still a freestyle, but I have a concept. Like with "Straight Up & Down," the concept is about being just that straight up and down and not being fake basically, the underlying current of my albums and my personality. That is something I take pride in: being very straightforward and dealing with truth. That's really who I am period. "Straight Up & Down" is who I am, and "Raw Sewage" is me showing out.

Ballerstatus.com: When is the album is scheduled to drop?

Del: First quarter of next year.

Ballerstatus.com: What is the title of the first single?

Del: I haven't really decided it yet, but it will most likely be "Lay You Down To Sleep," it has a real 808-type composition with a down South sound like early hip-hop. But I like that song a lot, a lot of dudes I know like the song. The streets are really feeling it hella heavy. I want to come out on the tip like AWWWW!

[HateMeNow]

DJ Shadow

Josh Davis—better known as consummate crate-digger DJ Shadow-- is tired, and not just because his tour bus just rolled into the ATL after a sold-out show in New Orleans the night before.

Nah, Davis is tired of closed-minded fans still waiting for him duplicate the lightning-in-a-bottle perfection of his 1996 breakthrough debut album, Endtroducing... He’s tired of the constant music biz consolidation that has left his career in limbo more often than not over the past decade, not to mention leaving his sporadic output getting far less promotion and marketing than his creative success would seem to merit. But most of all, he’s tired of the blogosphere haters bitching about how his latest LP, The Outsider, almost completely eschews the visionary brand of instrumental hip-hop with which he originally made his name.

See, Shadow’s on some new shit now. He’s on some hyphy shit, rocking it with Bay Area icons such as Keak Da Sneak, Turf Talk and E-40. He’s on some underground shit, kickin’ it with Phonte of Little Brother and Lateef. And he’s on some rock shit, jamming with Brit-pop band Kasabian and Coldplay sound-alike Chris James. Shadow’s new mission is to break down the boundaries of strict musical categorization by any means necessary, and in our exclusive interview he candidly reveals his frustrations with the music industry and haters alike.


What were the good and bad things about having a debut album as influential as Endtroducing?

At the time we put out the record, the people at the label (A&M UK) understood it and had a game plan that made sense for the record. I was spoiled, because they knew exactly what they were doing and it had everybody’s full attention, from the people at the top on down. Everybody believed in it, and knew exactly how to market it with this 6-month plan. During that time I went back home to my crappy little apartment in Davis, California, not really knowing what was going on. I was obligated to work on the UNKLE record, so I just kept working, and I was alienated for the phenomenon that was occurring. The good thing was that, if it weren’t for the attention by all the people at the label, it wouldn’t have been such a success. The bad thing was that I thought that’s how all record companies worked– when they got a record, they put all their energy into it and made sure it was a success. So I was spoiled, and it was a big shock with subsequent records to realize how frustrating it is to try to get people [at the label] to focus and do their jobs.

It’s been 10 years since you released Endtroducing, and The Outsider is only your third proper solo album. Why did it take so long between releases?

Well, everything about my career is really odd. I’m American, but I’m considered a foreign artist here because my contract was with Island UK. In 1995, I thought I was doing an indie deal with the MoWax label, but I was actually signing to A&M Records UK. In 1998, when some alcohol company bought a cigarette company, or whoever it was that owned Universal at the time, they closed down A&M in the UK and put all the MoWax contracts into a hat. Island wanted me, so I ended up there. My first album came out through London/Ffrr in America, then that label closed down and I got moved to MCA. Then MCA closed down in the wake of the downsizing the business has been going through the last 10 years, and I ended up at Geffen. I got tired of showing up at people’s doorsteps with this orphan complex, because nobody there really signed me so nobody’s really working to make it a success. To test the water, I put out a live DVD, because I want to be a success in my home country as well. I told Island they needed to find me somewhere else, and Universal stepped up and told me they wanted to do it. It was the first time that that had happened with a label here in America. Writers ask me, “Is it different now that you’re on a major label?” But I’ve always been on a major label. It’s just been disguised a little bit.

How has the relationship with Universal been so far?

Honestly, it’s a mixed bag. This is a unique album, and it takes a lot of explanation. There’s a song called “You Made It,” and some Hot AC stations picked up on it early. But as soon as they found my MySpace page and listened to some of the other songs on the album, they stopped playing it because they were worried about sending their listeners to a hip-hop artist. Which makes no sense. The whole point of this album was to expand people’s perceptions of what an album can be and to defy the traditional boundaries of music marketing. When you go to a record store, you’re sent to pop/rock, or to rap... I get stuck in electronica, which is always in the back somewhere, and I don’t even understand or recognize a lot of the artists I’m grouped with.

So where would you like this album to be filed?

The fact of the matter is that I’m an artist that grew up on rap music and, through that, learned to embrace other types of music. It’s kinda like Afrika Bambaataa: If he hadn’t been listening to German krautrock, he wouldn’t have written “Planet Rock” and spawned a million subgenres, like Miami bass and electro. Those are the people that taught me the rules of hip-hop, but it’s hard for people in this day and age to reconcile that sort of old school mentality with an artist who’s making contemporary music. I’m not trying to sound retro or hold up some banner for taking it back to the old school. With groups like Gorillaz, it’s kind of a cliche' now to mix a lot of different types of music together on every song, but I feel like MoWax helped invent that sound. Back then, you didn’t have people like [Radiohead frontman] Thom Yorke singing on tracks with samples and beats, and you didn’t have scratching in rock songs. Now, over a decade later, I didn’t wanna follow that format because I feel it’s a little played-out. If I’m gonna do a hyphy song, I want it to hit the hyphy crowd, not just this narrow band of people who can accept all these different genres at once.

So that explains the origins of “Three Freaks,” then.

Yeah. When it got leaked almost a year ago and started getting radio play on the main urban station in the Bay Area, I decided I was gonna do this sort of album. It still sounds like me, but I didn’t mix up genres as much. That’s how I listen to music at home: It’s not a big thing for me to listen to Rick Ross, then turn around and listen to some Korean ethnic music. That’s how I digest music, so I wanted an album that reflected that variety. But it’s hard for some people, and you might have seen some people on the Internet hating on it. The same thing happened with the last album, and the album before that, and now they’re both considered classics. But I totally believe in this record, and the shows on this tour I’ve been on since June have been incredible.

It seems like there was a time, back in the ‘90s when your career was first building steam, when outsider music had more of a place, both in hip-hop and in the mass media at large. There was more openness to new ideas.

Yeah, it seemed like when hair metal was swept aside by grunge, it was like a clean sweep, and as grunge started to wane there was this desire not to lose momentum. People wanted to seek and find new sounds, and it was an exciting time.

Talk a little about the David Banner collabo, “Seein’ Thangs.” The subject matter is pretty damn political in the context of your career.

That was the first vocal performance on the album that we recorded. He cut the first verse in 2004, and I was gonna try to get Mystikal on the second verse, but he was locked up. I went back to Banner and asked him to knock it out right after Hurricane Katrina had happened, and the whole theme of the song was like a political version of the Geto Boys’ “Mind Playin’ Tricks On Me.”

Where do you see your career now, after 10+ years in the game?

It’s a strange time, because I definitely feel like I’m fighting for my right to be a unique individual. The blogosphere is almost becoming like AM radio, where it’s just a big bitchfest. I think we’re at a turning point, because I don’t think you can have that kind of discourse that’s negative all the time. Eventually, somebody’s gonna go, “OK, so what DO you like?!” But I think the tide is turning a little bit, and I’m committed to touring all year– here, South America, the UK– and the whole thing is almost sold out. I feel like the sales and the press I’m getting don’t really reflect what’s happening when I play live. The people who come to my shows are really passionate about saying, “We understand what you’re doing. Don’t sweat that shit, and don’t back down.” And that’s what I’m getting from a lot of my peers, too, like Madlib and Alchemist. I think every artist has felt boxed in at some point, trapped by their own body of work, like they have to keep repeating themselves, and this album is about stretching beyond all that.

[DFB]

STAT QUO INTERVIEW...



Eminem's The Re-Up hit stores last week and of the artists that was featured most prominently was Stat Quo. The Atlanta MC has been signed to Shady / Aftermath for quite a while, but this is the first time a national audience has had the chance to sample his music. Stat is clearly next in line in the Shady / Aftermath lineup, which is why we sat down with him to talk about the time he's taken to release his work, how he differs from other southern artists, and if we'll ever hear Dr. Dre's Detox album.


--------------------------------------------------------------------------------
Adam Bernard: I did both your bio and The Game's bio around the same time. The Game just released his second album, what have you been doing during that time?
Stat Quo: Well, Game had been on Aftermath for three years before me. He was signed way before 50.

AB: Wow, that's some new information for a lot of people, myself included.
SQ: You know Em was signed the same amount of time before he came out. Busta Rhymes was signed the same amount of time. The only artist Dr. Dre has ever put out shorter than two years, it was a year and some change, it was 50 Cent. The only artist ever.

AB: And that was to capitalize on the fact that the street CDs were doing so well.
SQ: Yeah, but that's the only artist in the history of Dr. Dre, since he's had Aftermath, that's he's put out before three years. It totally takes them that long, it's a process, man.

AB: So when you sign and it takes a minute it doesn't worry you at all at that point.
SQ: Nah because I'm with the best. If I was forty years old and I had signed it would have concerned me but I signed and I'm still a young guy. And you see the guys, even though it took them a long time, when they came out you see what happened. So it takes time, greatness doesn't come over night.

AB: I see no problem with that and actually prefer it because when someone's given time to grow in a position they can only get better.
SQ: Yeah, you appreciate it and you really learn how to be not just a fuckin rapper but an entertainer. It's not just about you getting out here and rappin on these songs, freestyling, but it's about how you carry yourself on TV because whether mother fuckers want to admit it or not I say we're role models where people do look at us in a different kind of light and some kids, they base their whole being and they way they are on how we are so we gotta really take that into account and I think a lotta times these labels they get these artists and they've got one dope song and they fuckin put an album out, but that artist ain't really ready to put an album out. He doesn't even know what it means to make an album, he knows what it means to make a song, but he doesn't know what it means to make an album.

AB: You end up with a lot of one hit wonder situations.
SQ: Exactly, the shit is terrible.

AB: So what has the learning process been like for you from the time you signed up until now? What have you learned and who have you taken in the most knowledge from?
SQ: Dr. Dre, Eminem, as of late I've been working with Snoop. It's dope. 50 Cent. I've got the best tutors in the game as far as what to do and what not to do, and you've got other guys, the younger guys, the Buck's, the Lloyd Banks', we got all these artists that I just get to talk to that have seen so much and I just can take little pieces of them and apply them to my career, so it's a blessing.

AB: How is it being one of the few southern rappers on the label?
SQ: It's dope, man, because a lot of aspects of my culture and my life, they're not really familiar with it so it's kinda like I can enlighten them on certain things and they can enlighten me on certain things about their shit.

AB: Southern rap almost gets put into a different category. Do you see them embracing southern rap or are you radically different from other southern rappers?
SQ: I'm different because I'm me, first of all, and them embracing me is embracing southern Hip-Hop because that's what I am. I don't consider myself to be like anything that has come before and if I was on some shit like that then I don't feel like I would be deserving of a deal. I don't think people are deserving of deals that sound like other mother fuckers.

AB: Thank you for saying that. So many people ask me "yo who do you think I sound like?" And I always reply that if I answer that question they're screwed.
SQ: Yeah, it's like a lot of people diss me and talk shit because they say I don't like his voice, but you never hear someone say Stat sounds like somebody else and that's the truth, I don't sound like anybody else and that's on purpose. I'm not for everybody, and I don't try to make music for everybody, I make music for myself, God, my kid and keep it moving. If mother fuckers love it they love it, but I'm not gonna get out here and try to sound like MC such and such or Biggie or Pac or Jay-Z just to make mother fuckers satisfied, I'ma do me because that's what Hip-Hop is about. When Jay and Pac and Biggie and Rakim and KRS-ONE and Eminem and Scarface, when they did their thing, they were doing them and people fell in love with them, so why can't artists just be themselves and make mother fuckers fall in love with them? There's not enough of that right now, everyone wants to jump on the bandwagon because when they see somebody that's successful at something they want to hop on and do that shit. Fuck that, do you, man. OK, you're gonna get some scrutiny, mother fuckers is gonna talk shit to you, they're gonna say "hey you don't sound like you're from Atlanta," who gives a fuck, though? After a while they're gonna hear you so much to where your sound is gonna become the new sound of Atlanta and I know I'ma do that. All that shit people say about me, that shit's gonna turn around because I'm doing something new and different and that's what mother fuckers want to hear at the end of the day because that's what makes Hip-Hop Hip-Hop. When Hip-Hop came and took over and really started doin its shit it was because it was new, different, innovative. If everybody's doing the same thing the culture's gonna die just like all other genres of music that went down. Disco, everybody started making the same song over and over again, that's why that shit played out, period.

AB: Yeah, there was no one with individuality at that point.
SQ: None. It becomes cookie cutter. I'm never gonna become a cookie cutter MC because I believe in Hip-Hop and I love it, period. Fuck being a cookie cutter MC.

AB: A cookie cutter doesn't last long, people eat cookies.
SQ: Yeah, that shit is not gonna be here.

AB: The new project you're involved with is The Re-Up, tell me a little bit about that.
SQ: Shit just leaked on the internet today. Re-Up leaks on the internet, hey yaaaaay! Boy this internet, that shit's amazing. Anyway, it's dope, it started out as a mix-tape and the music started coming out crazy. Em was at home and he's just a thinker like that and he was like man this shit should be an album. Nobody disagreed because everybody likes money. It was like hey, let's go, let's do it.

AB: But it's already been leaked to the internet?
SQ: Yeah, I got that call right before, but you know... it happens. Fuck it, it is what it is. I take it as a compliment when something leaks to the internet and people burn it and are playing it in the streets, it's a compliment, they really like the music. Part of me feels fucked up because I know it's taking away from the sales of it, but hey, it's life.

AB: Who'd you work with for the tracks you're on on the album?
SQ: Alchemist, Eminem, Dr. Dre and LT Moe, a producer that's signed to GMM. Those are the solo songs. I have some other songs I'm on with other people.

AB: It sounds like you're all over this album, so is this going to be the national coming out party for Stat Quo?
SQ: Let's hope so, let's hope for my child's sake.

AB: How old is your child?
SQ: He's nine months.

AB: Hey, you waited till you got the record contract first! That's good!
SQ: Oh yeah, no doubt. And you know what, I think he's a side of me that really let me know that I'm capable of loving something besides my momma and my grandma. He's love. When I see him I see love.

AB: The last few MC's I've spoken with have told me their kids are their main inspiration. Now, after The Re-Up is released, what will be next on your agenda?
SQ: Well I've finished recording my first record and it's mixed down so I'm working with Dre on The Detox and I'm recording my new album.

AB: Will The Detox ever be released or will it just be talked about for the next ten years? It seems everyone works on it but we never hear anything from it.
SQ: I don't know, I can't answer that question, I'm not Dre. (laughs) But I know everybody worked on it. I feel you on that. He told me he's gonna put it out but I'm sure he told other people that, too.

AB: I got this feeling he gets done with it and then decides he likes another track, tries to fit that on, then hates his original songs, scraps them all and decides to record everything again.
SQ: You gotta understand the position dude is in, too, mother fuckers is waitin on that shit. They're anticipating that hist like no other shit so when you're in that position to do that it has to be so incredible. He's just trying to live up to his own standards. He's trying to live up to some standards that he created. In some ways it's a lose-lose situation, you can't win in that situation. People been waiting seven years for this album, it's kinda hard. The amount of pressure that's on him to create this record is crazy, most people couldn't even live with that but he's such a great man and a great artist that it's nothin. It's Dre, you know what I'm sayin?

AB: On a scale of 1-10 the expectation is an 11.
SQ: So he has to sit there and scrutinize it because he knows that's what people are going to do. They're gonna study it, analyze it down to the very last compound.

AB: So are you prepared to be that crazy for your second release?
SQ: I'm prepared to be that crazy for my first one because it's taking so long. When it takes long to do something it just builds anticipation in people.

AB: So you have the music, you have your son, what else is going on in your life right now that you'd like people to know about?
SQ: Nothin. I want my fuckin privacy. (laughs) I like the rap shit, I love it, but sometimes I just don't want to be bothered. I love people, but you can't even take a shit or a piss without somebody coming up to about somebody else. Damn dawg, I don't know. There's a time and a place. Like we're doing an interview, ask me all you want, but don't interview me while I'm shittin in the gym bathroom. C'mon man.

AB: Or when you're sitting down and ordering dinner.
SQ: Yeah, you see me holdin my kid, feeding my kid in a restaurant, don't come over there and fucking interview me while I'm doing that, give me a pound a keep it movin. You know what I'm sayin? But at the end of the day I understand because I know we're artists and we have to be artists 24 hours a day. These people buy my record and I respect it and understand it but I just think there should be some kind of tact with this shit. If you see me having an argument with a chick that's not the time to come over to me and ask me about my album, it's not really a great time, can you please wait till we finish damn near killing each other right now?

AB: Finally, what message would you like to get across to the Hip-Hop community and your listeners?
SQ: If you don't like me how about suck my dick.

AB: That could work in reverse, though, because if everyone likes you you'll have no blowjobs for the rest of your life.
SQ: Yeah, that's true. Well the girls is who I want literally to suck my dick. How about fuck you? If you don't like me then fuck you.

AB: I will accept that.
SQ: We'll take that. I'll leave that alone. If you like me then let's get it, man. Thank you for the love, I really need it and I appreciate it.

AB: And to the ladies, if they like you then you can say "fuck me."
SQ: (laughs) That's funny. Hey you're pretty witty man. I see why you wrote up that bio!

AB: Thanks, it's why I get paid the moderately barely bucks.
SQ: Hey man, it is what it is. Ain't nothing goin on but the rent, whatever you gotta do to pay them bills.

[sadclown]

SADAT X: THE UNTRACEABLE

Convicted by illegal weapon possession, Sadat X is facing a 6 to 7-month sentence to prison, starting October. While the album’s title leaves no room for imagination and the time-span was minimal, Sadat X has still managed to put together one of his strongest solo efforts to date. From 1989 to 2006, the X Man is building like never before and not one prison cell that can stop him…


BLACK OCTOBER: THE FRAME

First off, congrats on the new album, it’s really dope. Did it come out the way you had it in mind when you started it?

It came out a little better. I thought it would sound incomplete because I rushed. But I like that pace. This is the pace I always want to work at.

In ‘On Tha Come Through’ you rhyme: ‘this album is made in a real tight time frame’. I suppose that’s not only pointing at what we talked about in the previous question, but also about the ‘realness’ and struggle you’ve been through in the period waiting to go to jail. How have you experienced this period personally?

Well, it has been a little stressful. But if you look at history, all great men had to overcome obstacles.

With ‘Black October’ do you feel like you have managed to write off a lot of your fears and worries for what’s to come?

I feel I have. I just wanted the public to be aware of the situation, but I didn’t want to dwell on it too much. I just want them to remember me for making good music.

To go back in time a little, and set things straight: what exactly happened at the end of 2005 in Harlem with you being convicted?

I was caught with possession of a gun. It wasn’t waved in the face of teens. It was more of a situation where some guys snitched on me, knowing I always had a gun.

But still the press reported on it in a quite paparazzi-way by writing about it like you’re the biggest gangsta, waving automatic guns at young kids. Do you feel like some writers betrayed you by doing that?

It’s funny because when I was at the scene, I don’t remember any writers being there. So I don’t know where they got their information from. If somebody were to ask me, I’d give them the truth. But low and behold, if you are a teen or anybody holding down a grown man’s situation, you get whatever comes with that.

How has your conviction influenced the way people look at you, e.g. as a teacher, basketball coach… Is there going to be a way for you to set your image straight?

I’m not worried about my image. It is what it is. These people that are worried about my image don’t pay my bills. It is what it is. People who know me and know my music know what it is. At this point in the game, you know, I’m not worried about that.

‘Black October’ is the ultimate chance to explain to fans what exactly happened: how important was it for you to have this album done by now?

It is important. Being that I am going to be locked up, I wanted to leave the world some of my music. I’m not the first person to get locked up, and I won’t be the last. Six to seven months, that’s a skid bid. I know dudes with years in the multiples.

Of course ‘Black October’ was an obvious choice for the album title with you being scheduled to begin serving your sentence. But, when we were actually listening to it, we made this little remark: the album could’ve as well been entitled ‘Experience and Education part 2’, since this joint depicts your day to day experiences again, with a lot of anti-glamorizing aspects that don’t fail to teach the kids. Could you agree with our remark?

I do agree because this album is a part of a trilogy. The third album, when I come out, is called ‘The Healing Process’. So in a sense, this is a continuation.

In a lot of older interviews you always considered your solo albums to be side-projects, next to your main group Brand Nubian. Having released two solo albums in such a short time-span, is it arguable that you still feel this way?

Brand Nubian is always first and foremost. We will have another album out soon.

BLACK OCTOBER: THE ALBUM, THE TRACKS

On ‘Experience and Education’, and certainly also on ‘Black October’, you can feel and hear your absolute eager to represent NY and to put it back on the map. Why do you think you still feel the need to rep NY to the fullest after almost 20 years in the game? Is it because you think NY doesn’t get the respect it deserves anymore?

Like I said, I’ve always repped NY. You got a lot of dudes that strayed away that come back now and rep NY. I do what I do.

Other Brand Nubian members are featured on this album, but not on ‘Experience & Education’, how come?

Basically because ‘Experience and Education’ was an album that was put together with songs that were already done.

Aight. I’mma hit you with some quotes from the album…


‘I still love rap, but I don’t love this game’(on tha come through). When did you loose the love for the game? What’s changed to make you fall out of love in the first place?

I still love the game. I just don’t like some of the practices that go along with the game. I’ve never kissed ass and I never will.

‘My mind tells me no, but my body tells me yes’ (my mind), is this something you face / struggle with a lot?

I think people take songs too literal. Every song is not to be taken 100 percent literal. Back in the days, people made songs for fun. It wasn’t always a cryptic, mythical meaning that journalists nowadays are looking for.

‘I'm international but in my own way’, (X is a machine). What’s exactly th?Š Sadat way?

The Sadat way is untraceable. I’m outside the box. When I was a kid, I used my crayons outside the lines.

‘Who knows? Maybe I’ll be a changed dude?’, are you afraid of becoming a different person through prison?

No, I’m not because I know who I am. I’m very happy with myself. I’m not a person that can be manipulated.

‘Should’ve forgot about that bitch on Myspace’, you go on Myspace often? For what purposes mostly?

I go on MySpace to politic. But I can see how you can get jammed on MySpace. It’s not hard.

‘Madrid, I really like Madrid’, what do you like/don’t like about going to the Old Continent?

I like Europe. I like the fans. I like the culture, the foods. I don’t like some of the long drives.

You’re also namedropping ‘Brasil’ quite a bit on the new album, what’s your experience with that country?

The weather was lovely. The people were lovely. We were treated well.


BLACK OCTOBER: THE BEATS, THE LABEL


You managed to compose a tremendous producer’s line-up again. On what basis do you pick your beats and producers?

Certain producers know my style, i.e., Diamond D, Scotty Blanco, DJ Spinna; and some come to me with CD’s, i.e., J-Zone, Marco Polo, not leaving exception to anyone.

On the production tip, this album differs a lot from your last album, this is more funk and soul, is the next album gonna have a different production line-up again?

It’ll be some old favorites and some new twists.

What has the role of Peter Agoston (and his Female Fun / Riverside Drive imprint) been in the re-up of your solo career?

He’s been a personal friend and he’s helped me tremendously. We go down together.

You once stated ‘I don’t really consider myself underground but then again I’m not commercial either. I’m right in the middle category’, don’t you feel like having returned to the underground by releasing stuff on FemaleFun?

In a way. But I feel there are artists such as Vast Aire, one of my personal favorites, and others who have more visibility in the underground world.

CLOSING QUESTIONS

How do you remember the recording sessions of KMD’s classic cut ‘Nitty Gritty’?

It was a fun time. Everyone was new and green to the game. It’s hard to believe MF Doom spawned from that.

How did you end up on Biggie’s ‘Born Again’ album?

The song I did with Biggie is one of the few that was done when he was still alive. They changed the beat. The original beat was done by Lord Finesse.

How different is recording for an album like Missy Elliot’s and Beanie Sigel’s (who both have million dollar deals) compared to a recording for a Vast Aire or Outerspace album?

The budget is different. There’s more money involved with other artists. I can take a shit with gold toilet paper.

Since you’re heavily affiliated with them, have you never felt like joining DITC?

I’m an affiliate member, but the cowboy rides alone.

What Western movie do you like best?

‘The Good, The Bad, and the Ugly’. Clint Eastwood, a champion’s champ, a man’s man.

How much does your Five Percenters background play a role in your everyday life of today?

My teachings through the Nation of Gods and Earths shape my daily life.

Will the knowledge that people will be pumpin this album while you’re in jail, ease the struggle in a certain way?

It will. It keeps me visible in the world.

Shouts?

Shout out to the whole world. Special shout out to my man Stud Doogie whose mom recently passed. Ms. Cherry was a fixture in ‘Now Rule’.

Thanks!










SADAT X: THE UNTRACEABLE

Convicted by illegal weapon possession, Sadat X is facing a 6 to 7-month sentence to prison, starting October. While the album’s title leaves no room for imagination and the time-span was minimal, Sadat X has still managed to put together one of his strongest solo efforts to date. From 1989 to 2006, the X Man is building like never before and not one prison cell that can stop him…


BLACK OCTOBER: THE FRAME

First off, congrats on the new album, it’s really dope. Did it come out the way you had it in mind when you started it?

It came out a little better. I thought it would sound incomplete because I rushed. But I like that pace. This is the pace I always want to work at.

In ‘On Tha Come Through’ you rhyme: ‘this album is made in a real tight time frame’. I suppose that’s not only pointing at what we talked about in the previous question, but also about the ‘realness’ and struggle you’ve been through in the period waiting to go to jail. How have you experienced this period personally?

Well, it has been a little stressful. But if you look at history, all great men had to overcome obstacles.

With ‘Black October’ do you feel like you have managed to write off a lot of your fears and worries for what’s to come?

I feel I have. I just wanted the public to be aware of the situation, but I didn’t want to dwell on it too much. I just want them to remember me for making good music.

To go back in time a little, and set things straight: what exactly happened at the end of 2005 in Harlem with you being convicted?

I was caught with possession of a gun. It wasn’t waved in the face of teens. It was more of a situation where some guys snitched on me, knowing I always had a gun.

But still the press reported on it in a quite paparazzi-way by writing about it like you’re the biggest gangsta, waving automatic guns at young kids. Do you feel like some writers betrayed you by doing that?

It’s funny because when I was at the scene, I don’t remember any writers being there. So I don’t know where they got their information from. If somebody were to ask me, I’d give them the truth. But low and behold, if you are a teen or anybody holding down a grown man’s situation, you get whatever comes with that.

How has your conviction influenced the way people look at you, e.g. as a teacher, basketball coach… Is there going to be a way for you to set your image straight?

I’m not worried about my image. It is what it is. These people that are worried about my image don’t pay my bills. It is what it is. People who know me and know my music know what it is. At this point in the game, you know, I’m not worried about that.

‘Black October’ is the ultimate chance to explain to fans what exactly happened: how important was it for you to have this album done by now?

It is important. Being that I am going to be locked up, I wanted to leave the world some of my music. I’m not the first person to get locked up, and I won’t be the last. Six to seven months, that’s a skid bid. I know dudes with years in the multiples.

Of course ‘Black October’ was an obvious choice for the album title with you being scheduled to begin serving your sentence. But, when we were actually listening to it, we made this little remark: the album could’ve as well been entitled ‘Experience and Education part 2’, since this joint depicts your day to day experiences again, with a lot of anti-glamorizing aspects that don’t fail to teach the kids. Could you agree with our remark?

I do agree because this album is a part of a trilogy. The third album, when I come out, is called ‘The Healing Process’. So in a sense, this is a continuation.

In a lot of older interviews you always considered your solo albums to be side-projects, next to your main group Brand Nubian. Having released two solo albums in such a short time-span, is it arguable that you still feel this way?

Brand Nubian is always first and foremost. We will have another album out soon.

BLACK OCTOBER: THE ALBUM, THE TRACKS

On ‘Experience and Education’, and certainly also on ‘Black October’, you can feel and hear your absolute eager to represent NY and to put it back on the map. Why do you think you still feel the need to rep NY to the fullest after almost 20 years in the game? Is it because you think NY doesn’t get the respect it deserves anymore?

Like I said, I’ve always repped NY. You got a lot of dudes that strayed away that come back now and rep NY. I do what I do.

Other Brand Nubian members are featured on this album, but not on ‘Experience & Education’, how come?

Basically because ‘Experience and Education’ was an album that was put together with songs that were already done.

Aight. I’mma hit you with some quotes from the album…


‘I still love rap, but I don’t love this game’(on tha come through). When did you loose the love for the game? What’s changed to make you fall out of love in the first place?

I still love the game. I just don’t like some of the practices that go along with the game. I’ve never kissed ass and I never will.

‘My mind tells me no, but my body tells me yes’ (my mind), is this something you face / struggle with a lot?

I think people take songs too literal. Every song is not to be taken 100 percent literal. Back in the days, people made songs for fun. It wasn’t always a cryptic, mythical meaning that journalists nowadays are looking for.

‘I'm international but in my own way’, (X is a machine). What’s exactly th?Š Sadat way?

The Sadat way is untraceable. I’m outside the box. When I was a kid, I used my crayons outside the lines.

‘Who knows? Maybe I’ll be a changed dude?’, are you afraid of becoming a different person through prison?

No, I’m not because I know who I am. I’m very happy with myself. I’m not a person that can be manipulated.

‘Should’ve forgot about that bitch on Myspace’, you go on Myspace often? For what purposes mostly?

I go on MySpace to politic. But I can see how you can get jammed on MySpace. It’s not hard.

‘Madrid, I really like Madrid’, what do you like/don’t like about going to the Old Continent?

I like Europe. I like the fans. I like the culture, the foods. I don’t like some of the long drives.

You’re also namedropping ‘Brasil’ quite a bit on the new album, what’s your experience with that country?

The weather was lovely. The people were lovely. We were treated well.


BLACK OCTOBER: THE BEATS, THE LABEL


You managed to compose a tremendous producer’s line-up again. On what basis do you pick your beats and producers?

Certain producers know my style, i.e., Diamond D, Scotty Blanco, DJ Spinna; and some come to me with CD’s, i.e., J-Zone, Marco Polo, not leaving exception to anyone.

On the production tip, this album differs a lot from your last album, this is more funk and soul, is the next album gonna have a different production line-up again?

It’ll be some old favorites and some new twists.

What has the role of Peter Agoston (and his Female Fun / Riverside Drive imprint) been in the re-up of your solo career?

He’s been a personal friend and he’s helped me tremendously. We go down together.

You once stated ‘I don’t really consider myself underground but then again I’m not commercial either. I’m right in the middle category’, don’t you feel like having returned to the underground by releasing stuff on FemaleFun?

In a way. But I feel there are artists such as Vast Aire, one of my personal favorites, and others who have more visibility in the underground world.

CLOSING QUESTIONS

How do you remember the recording sessions of KMD’s classic cut ‘Nitty Gritty’?

It was a fun time. Everyone was new and green to the game. It’s hard to believe MF Doom spawned from that.

How did you end up on Biggie’s ‘Born Again’ album?

The song I did with Biggie is one of the few that was done when he was still alive. They changed the beat. The original beat was done by Lord Finesse.

How different is recording for an album like Missy Elliot’s and Beanie Sigel’s (who both have million dollar deals) compared to a recording for a Vast Aire or Outerspace album?

The budget is different. There’s more money involved with other artists. I can take a shit with gold toilet paper.

Since you’re heavily affiliated with them, have you never felt like joining DITC?

I’m an affiliate member, but the cowboy rides alone.

What Western movie do you like best?

‘The Good, The Bad, and the Ugly’. Clint Eastwood, a champion’s champ, a man’s man.

How much does your Five Percenters background play a role in your everyday life of today?

My teachings through the Nation of Gods and Earths shape my daily life.

Will the knowledge that people will be pumpin this album while you’re in jail, ease the struggle in a certain way?

It will. It keeps me visible in the world.

Shouts?

Shout out to the whole world. Special shout out to my man Stud Doogie whose mom recently passed. Ms. Cherry was a fixture in ‘Now Rule’.

Thanks!

©

[sadclown]

BRAILLE: HEADED FOR LIGHT.
From Portland comes the divine trio known as Lightheaded, consisting of Ohmega Watts, Braille and Othello. Each sharing individual success with team prosperity, Lightheaded is the crew that makes it happening these days. ‘Wrong Way’ is their second album (following ‘Pure Thoughts’ from 2003) and issued earlier this year on Tres Records. Braille, who also founded his own Hiphop IS Music label enlightens us about the group’s current affairs…

The new album is entitled 'Wrong Way', can you explain why you picked this name and in what sense it reflects on your music?

When we first came up with the concept, we were travelling all over the U.S. on tour. We were doing shows in bars, churches, parks, houses.... we were all over the place. What we learned from those experiences is that we can be ourselves no matter where we go. So the idea is that, we can try new things musically, and we can go to new places, but we don't need to loose touch with who we are. We can do those things without going the ‘wrong way’. We also found that our operations were very ‘unconventional’ compared to your average ‘modern’ hip-hop recording artist. Based on the mainstream representation of hip-hop, our sound and lifestyle is going in a completely different direction. So, if what you see in the videos is the right way, then I guess we're going the ‘wrong way’.

The album is released on Tres Records, how did you hook up with Thes One of People Under The Stairs, owner of the label?

We did a show in Portland opening for J-Live and People Under the Stairs. Thes One heard us sound checking and started chatting with us afterwards. He was telling us about Tres Records and we kept building from there. Eventually, we made a trip to Cali to meet with the whole Giant Panda family and the rest is history.

Giant Panda dropped an album on the label too…

Yeah, a lot of people don't know that Chikara from Giant Panda is one of the main owners of the label. Thes One was the A&R who discovered us, but Chikara is who we talk with about all the business stuff.

Are you fans of People Under The Stairs?

We've been digging their music for a long time. I can remember bumping instrumental versions to some of their early albums with Ohmega during road trips. They are one of the most consistent groups within the ‘style’ of hip-hop they create.

There’s a line in the song ‘Orientation’, which goes as follows; ‘My opinion is tainted with golden age’s favourites’, what years are the golden ages for you?

We all grew up on early 90's hip-hop. We also dug into the late 80's, but the early to mid 90's were our greatest influence. We were all big fans of A Tribe Call Quest, De La, Pete Rock and C.L. Smooth and so forth. Many of the same people that most artists from our generation were influenced by.

Your previous album 'Pure Thoughts' was received well in the underground scene... were you happy with that response or was you expecting it to blow up even more?

Honestly, we did ‘Pure Thoughts’ as a side project when we started it. The album became much more successful than we could have ever imagined. We aren't big-headed artists who feel like we ‘deserve’ to blow up. We are just doing our best to be faithful over the platform in front of us. The support we've gotten from all over the world means a lot to us. We don't take it for granted.

In what way does ‘Pure Thoughts’ differ from ‘Wrong Way’, not only on the musical side but the vision/message behind it?

The main difference between ‘Pure Thoughts’ and ‘Wrong Way’ is the production. For our first album, Muneshine did all the beats. Once Lightheaded became a serious group and started touring, Muneshine was unable to travel with us. He was living in Toronto, and everyone else in the group was living in Portland. Eventually, Ohmega started taking on some of the production duties for the crew. The new album still features a track from Muneshine, and also has contributions from Stro of the Procussions and Tony Stone. The message and vision of Lightheaded is still pretty much the same. We have grown closer as a group, and we just understand our vision with more clarity now.

Stro made two beats on the new album, Othello featured on The Procussions track ‘Conquered’. Are there more collabos between you and The Pro’s coming up?

Our whole crew is really close with the Procussions. ‘Conquered’ was actually an Othello song from his album ‘Classic’ and Mr. J of the Procussions did the beat. The only song with everyone from both crews rapping together so far is ‘That Sound’ from the Ohmega Watts album. Stro also did beats on my new record. Stro and Mr. J both did beats on the latest Othello album.

‘Pure Thoughts’ was released on Day By Day, how did that come together?

The initial release of ‘Pure Thoughts’ came out on Day By Day, but the album was eventually re-released under Hiphop IS Music. During the time when we dropped ‘Pure Thoughts’, Day By Day was being run by DJ Fisher, who now runs Domination. Me and Fisher had been good friends for a while, so when we had the record done, we sent him a copy to see if he would be interested. The rest is history. Grimm is now running Day By Day, and we got love for both companies, Day By Day and Domination.

Lightheaded and its affiliates are known for having a strong connection with Japan as for releasing records. Why do you want to break into the Japan market?

We never had a specific ‘plan’ for breaking into the Japan market. When we dropped ‘Pure Thoughts’, we got a lot of really good feedback from Japan. Then a lot of doors started opening. All of our group records and solo records have been well received in Japan. We did one tour there as a group, and each member of Lightheaded has toured there solo as well. The Japan scene has been very welcoming, honest and supportive of us. We enjoy every visit and we look forward to more visits in the future.

How come all of you appear on different labels as solo artists? Are the different labels a good choice to establish your names in a more widely/secure sense?

One of our goals as a group has been to support each other as solo artists. We all have goals in music that we want to accomplish, and all of our goals are unique. As solo artists, we try to work with labels that are best fit for our music. Ohmega works with Ubiquity, and this has been great for him as a producer. It gives him a chance to focus on the ‘music’ and try new things. Othello is working with a label in Japan called Mic Life. His albums feature a full jazz band and the Japanese market has really embraced the sound. I have worked with a couple labels during my career, but right now I've been building towards the next stage with my management. I recently started being managed by the same company who manages James Brown. This has given me great touring opportunities and a bigger vision for the future of my music.

You founded the label ‘Hiphop Is Music’. Did you found it alone or any other Lightheaded member involved?

Hiphop IS Music was founded as a one-man-operation. I did my own promotions, financing, distribution and everything. Ohmega does all the graphic design for the label, so he is an active part of the team but not an owner.

Are there Lightheaded members gonna be signed to the label?

Hiphop IS Music will always support all Lightheaded related releases, but I never want the label to get in the way of good opportunities for any of us. Even if we all signed to major labels tomorrow, I would still be running Hiphop IS Music and pushing other artists through it. It's a passion of mine.... not just for the sake of getting my own music out, but more for the sake of putting out other artists who I believe in.

Why do you want to start your own label, because it seems to me there are a lot of decent independent labels right now, such as Tres Records for instance…?

I agree that there are many, really good labels, but there are also many artists who still haven't found any homes. There are a few things that makes Hiphop IS Music unique. All the records we release are curse-free. Most of the artists on Hiphop IS Music are married and work full-time jobs. During the years where Lightheaded was touring a lot, I would meet a lot of great artists who had already passed their ‘prime’. By ‘prime’, I don't mean they weren't good anymore, but they had grown up. They had responsibilities, a family and things like that. They couldn't just hit the road whenever they wanted. But I still feel these artists have valid contributions they can make to the hip-hop community. So my goal has been to provide them with the resources they need to make a quality record, and then make their records available for the hip-hop community. In many cases the music industry can be a burden for artists, with Hiphop IS Music I want to be a blessing to them. I don't care if we get famous, or if we blow up. At the end of the day, I just want us to be able to make records that we enjoy, and I just want us to be happy in our personal lives. That's what this label is about for me.

Tell us more about Sivion…

We met Sivion in Texas at a 4th of July cook-out. We've been friends ever since. He dropped an album called ‘Spring of the Songbird’ on Hiphop IS Music this year. It's a great record.

You released a few solo albums yourself, do you feel like your solo projects are a part of promoting the Lightheaded crew in its own, or is it really more personal stuff?

Our solo stuff helps the group, and the group helps our solo stuff. We are accomplishing promotion on both sides, and also getting a chance to share ourselves in both settings as artists. Our solo stuff does tend to be a bit more personal, but we also get personal in our music together as well.

You all were involved in several groups could you give a short overview?

Me and Ohmega used to be in a group together called Return To Sender, since 1999, and we also did a side project under the name Acts 29. Othello was in a group called Lojique, which is still active today, minus Othello.

What does God add to your music?

God is the foundation and focus of our lives. Our music is a reflection of things from our lives, and he is our life source. We are constantly growing in our personal lives through our relationships with Jesus, and that plays a great effect on our art.

Do you pray a lot?

Prayer is a big part of my life. I've been married now for 4 years. Me and my wife spend time reading the Bible and praying together almost every night. It's rare that I spend hours at once praying, but prayer is a big part of my day to day life.

Do you like the way the subject of religion is touched by Kanye West? It seems like the matter is fully accepted in the mainstream world, look at Nas’ notorious and successful videoclip ‘Hate Me Now’… Religion and commercialism go hand in hand…

I think ‘religion’ has always been a mainstream topic. It's a huge part of our society. It's something that we constantly abuse. It's often mis-understood and poorly represented. For me, it's not about ‘religion’ though. That is just the practise of belief. I'm not trying to represent a religion, but more so represent the gospel of Jesus Christ and be a reflection of God’s love to the best of my ability. I am far from perfect, but I strive for perfection as I draw closer to God and understand his heart.

What are Lightheaded’s future plans?

All three members have new solo records in the works. Othello’s is already done and is called ‘Alive at the Assembly Line’. Braille just dropped a new record in Japan called ‘Box of Rhymes’ and the record is being revised for a worldwide release. Ohmega is working on his next single for Ubiquity. We also plan to do another Lightheaded album. Our tentative title is ‘Lo-fi Heights’.


peace and GOD bless!

PEACE and THANKS A LOT BRAILLE!

©&©

a ramas unul dintre preferatii mei(constant elevation)

[iLL:WiLL]

click pe poze

[Daniel-San]

DJ Kay Slay - Trust No One

thaFormula.com - How did the "New East" showcase end up going man?

DJ Kay Slay - I was fascinated at the job Littles put together. Everybody really respected one another. It wasn't no problems or nothing. It just showed that the East Coast never went nowhere just like I always say. It's just some of the powers up don't support the up and coming like other regions support their up and coming. But on some underground shit, that was the biggest event there has been in a while here.

thaFormula.com - Why do you think that the radio and the industry don't want to make room for a lot of these new up and coming artists?

DJ Kay Slay - It's just a different side of the game right now. A lot of muthafuckas got it confused with Hip-Hop, rap and entertainment. This ain't no hate either. You can challenge it if you wanna challenge it. I'm the nigga to talk to 'cause I'm Hip-Hop. A lot of them cats you see on TV is entertainers that's doing the dances with the raps. They are entertainers okay. Nas is a rapper. A lot of people are getting it mixed up when he says "Hip-Hop is Dead" or shit like that. Nas is coming from the true lyricist and the true Hip-Hop angle. A lot of shit that is being portrayed as Hip-Hop is not. Hip-Hop is 360 degrees of the game. You got lyricism, story tellin', droppin' knowledge, science for the kids, education, and then you can bring it back around to the club joint. 360 degrees, how many rappers are doing that right now? Nas ain't saying that "Hip-Hop is Dead" because the South is on more videos and more radio then the North, he's saying that it ain't Hip-Hop that is going on right now. Right now we are getting more of the drug ;dealer's guide for the kids then anything else.

thaFormula.com - Why do you feel that the South rappers were the first to get really pissed about that (Nas) title though?

DJ Kay Slay - Because I think a lot of them muthafuckas know that they are not Hip-Hop (laughs). First and foremost everybody must know that I got love for the South. Before they was poppin', I had Three-Six Mafia on my first single. That was on my album 3 years ago before they blew up. I have always supported T.I. since day one. Eightball and Ludacris, etc. have got love shown. But a fact is a fact, everybody down there ain't lyricists. Some niggaz make good music, some of them are Hip-Hop. Three-Six Mafia is Hip-Hop. UGK is Hip-Hop. Scarface, Ludacris, Eightball & MJG is Hip-Hop. There is a lot more and please don't say I'm dissin' you if I didn't mention your name. But there is a lot of muthafuckas that ain't Hip-Hop that are getting spins and Nas is just bringing that shit to life. Basically saying, at the end of the day Hip-Hop is dead.

thaFormula.com - Nas recently said that he saw a lot of artists and people furious when he squashed his beef with Jay-Z, did you see that?

DJ Kay Slay - I did see it. Me myself I ain't gonna lie, I was kind of confused with that move. I just felt like Nas was his own entity. It's a double edge sword. It's good for the game, but I just think they both went at each other to hard to be rubbing shoulders like that again. That's just me. On some grown man shit, both of them really got personal. But for them to make that move is big.

thaFormula.com - It seems like things are changing in Hip-Hop right now. The South had a huge run, but it the way things have been going recently it looks like it's coming to an end…

DJ Kay Slay - It's over. On the real check the numbers right. I got good relationships with a lot of brothas from the South, but I don't wanna name how many of them niggaz albums came out and did not go platinum. Albums that were bricks. Nobody speaks about this shit. Like Ying Yang Twins, I like them dudes. They did some shit like 20 something thousand their first week. This is a group that just went double platinum. I could sit here and name some muthafuckas but then I don't want to put anybody on blast and hurt niggaz egos cause a lot of people are respected and looked up to. Then they are gonna twist my words and say Slay is shitting on them. What I am gonna tell you is to check the Soundscan. 8 out of 10 rappers in the South right now didn't sell no records and their album just dropped within the last 4 months. Ain't go Gold either. So if you look at the state of the game right now, I think the East is kind of edging. So when niggaz be talking that East Coast fell off, nah man ya'll niggaz ain't checkin' no fuckin' numbers son. Everybody is suffering right now. The whole record industry is fucked up right now. Nobody is fully winning right now. Let's put this shit in the proper perspective. 50 Cent about to drop his album and he's gonna do his numbers, Papoose gonna do his numbers. The way the game is right now, it's balanced if you ask me. This is because everything evolves 360 degrees man. These are the laws of the universe.

thaFormula.com - For a minute though it looked like the South would be completely running things forever.

DJ Kay Slay - But the run was on the radio and on TV. Check them numbers man. You know, I knew that the run was pretty much over for the South or was about to come to a halt, when Outkast didn't go Gold. Outkast are some real creative artists. They are Hip-Hop. They've been on the stage with Raekwon. Them niggaz done touched every angle and that's what I'm talking about. How many artists in the South have done what Outkast has done? Like from different angles and shit?

thaFormula.com - Do you think that you have played a big part in keeping the East going through the hard times?

DJ Kay Slay - I'm the type of dude that no matter where something is going on or how it is poppin', I always support them, but I keep my flag up from where the fuck I'm from first. Niggaz start shitting, I'm always gonna bang back and I'm gonna try to keep everything where it's supposed to be. I definitely thing I'm supportive in that movement because I ain't never changed hats.

thaFormula.com - I saw that with how you kept grinding with Papoose and sticking with that NY flavor, while a lot of dudes basically just turned into Southern rappers?

DJ Kay Slay - Yeah, muthafuckas done switched up man. I told Papoose man. "We gonna stay on New York beats and you cannot rap on it the way they rap unless it's one of them on a track with you and you are being competitive." We can't do what they do, that just ain't us.

thaFormula.com - Did it bother you to see so many artists switching up?

DJ Kay Slay - That was bothering me, but I knew we had some of the fathers in this shit that wasn't. Jay-Z was staying New York, Nas was staying New York, 50 Cent was staying New York. The strong elements in New York were standing firm.

thaFormula.com - How do you look back at the movie "Style Wars" so many years later man, knowing you were one of the main characters in such a historical film?

DJ Kay Slay - I'm Hip-Hop man. That's how I look at it. Can't nobody challenge me in that and that's why I can pop my shit about Hip-Hop. I was like 16 years old in Hip-Hop documentaries man back in 1981. If you look at it, you see me on the subway as a graffiti artist, but I'm also on the subway platform rappin' with my man. I was also Djing at the same time. So I lived this and watched it come into existence. Alot of people haven't seen it. I remember when it was disco and disco evolved into Hip-Hop.

thaFormula.com - How much of an impact did the felony possession indictment have on what you chose to do next with your life as a young man?

DJ Kay Slay - When I got locked up and started to think of everything my mother and my grandparents tried to do for me, and how they worked so I could do the right thing. It felt almost like I was saying fuck them. When you're locked up you have all the time in the world to think and I just started thinking about different things. You know I used to smoke mad dust, sniffed coke, robberies, hustling, and just one of them wild niggaz out in the street. So when my mind started clearing up and I started thinking, I started manifesting the knowledge that I had when I was younger. I was thinking I ain't no savage and my mind really cleared up. I remember I seen Kid Capri's name up in lights and other DJ's and thinking that these niggaz is getting paid for this shit now. I helped start this shit right here. I Dj's out in the park at Zulu nation anniversaries and shit like that. That's when my mind shifted off of all the negativity and came back on the game. One thing I seen that was missin' from the game, was that alot of these DJ's wasn't representing the street. They was reppin', but they was not representing the streets. So that's the angle that I grabbed a hold of and brought to the game.

thaFormula.com - What was your first break in this business man and what was it?

DJ Kay Slay - Well, I did it little by little man. I would DJ parties, started doing the mix tapes. My man Demo persuaded me to do the mix tapes. We made a little series named "Warning" that was poppin' off real hard in Harlem and the Bronx. Then being that I was an older dude, I would make slow jams and I was doing reggae joints. A lot of niggaz didn't know that I was making blend tapes and my blend tapes was bananas. I was covering all angles of it. I wasn't really into the straight exclusive joints. It would be a half exclusive tape and the other half would be a blend 'cause I was just like a different type of dude. I think the best thing that happened though was when Clue started the exclusive game. I just started getting so many connections with people that had their hands on music that was unreleased and that was it.

thaFormula.com - Now you broke "Ether" from Jay-Z on the streets in 2001. Was that a big moment in your career DJ wise as far as everyone hitting you up after that?

DJ Kay Slay - In 2001 I was already the go to guy when it came to the beef records. The impact with that was that when I got the record, the way I did it on the mix tape and the fact that I wasn't afraid to go with the underdog on the situation is what did it for me. I was on that tape like, "Uh Oh, it looks like Nas is coming back y'all." I'm on the air pluggin' this shit like, "this fuckin' record is crazy." I remember when I got the record. I was like whatever about it when they told me Nas was killin' Jay on this record. I threw that shit on and heard the first verse and was like "alright it's cool." I heard the second verse and I was laughing like, "Nas is a funny nigga." Then I heard the third verse and was like, "Oh My God, somebody finally put this nigga on his ass." I was shocked. That gave Nas his whole career back, back then.

thaFormula.com - Do you think you breaking that like that made people wanna deal with you even more?

DJ Kay Slay - I think besides that it was also when Jay-Z made "Super Ugly." So on New York radio they were premiering the Jay-Z response at 3pm. I mean you could have heard a pin drop in New York city that day when that time came. When they played the record, I wasn't even supposed to be up there. They was like, we gonna play this Jay-Z record and asked me to come in the room. When they played that record, everybody is looking around the room. Flex, Angie, E-Nuff, and basically all of Hot 97. Niggaz started going around the room and everybody was like, Jay-Z or I got to go with Hova and I'm looking around like huh. Now had this been "Ether" versus "Takeover", I would have probably felt like Nas edged him a little bit, but that was a equal battle. But it was "Ether" versus "Super Ugly." So when they went around the room, I was like, "you all can't do this cause Nas won that." And everybody looked like, "Oh, this nigga is talkin' against Jay on the radio." I said "did you guys hear that, did you hear the lyrics?" I wigged out man. I'm talkin' about faxes was coming through, my pager was going off blowing up, my phone was ringing. The phone lines were ringing like crazy and everybody was just like we love you right now. Shit just went crazy. Nas even told me when he seen me, "Yo, we was sittin' in the car like these niggaz are about to rob me, but when you did that shit, you changed the whole outlook to everybody." Now when I did that move, that's when everybody really wanted to fuck with me. Because no matter how rich you are or how poor you are, if you won you won and if you lost you lost.

thaFormula.com - How did it feel to see so many DJ's bitin' your style and all that as far as the mix tapes goes?

DJ Kay Slay - Those are my sons man and I don't fault them. They got to do what they got to do to get on. As long as everybody knows that I am the first to ever put a host on their mixtape. The "hosted by so and so" on a mixtape started with me. You can't deny that. I was hostin', talkin' shit, shittin' on niggaz. Niggaz wasn't doing that. It's cool, I don't knock anyone for doing it. Like I say, each one teach one 'cause this is what it is all about. Just don't try and claim something your not.

thaFormula.com - On the other side of it though, there was a lot of backlash as far as all the screaming on mix tapes was concerned. How did you take that?

DJ Kay Slay - I'm not a fuckin' bitch. I'm a nigga from the streets and that's how I react in real life. I'm a cool, calm nigga, but I put my heart and backbone into everything I do. I don't know how to be soft. I caught backlash, but muthafuckas still copped my joints. If I didn't scream on the tapes or this and that, muthafuckas would be able to take records off my tapes and put it on their mixtape. Niggaz was trying to do it anyway and try to cover up the screaming. So it is what it is and that's how I kept my shit exclusive.

thaFormula.com - Why is it so hard for the West Coast to get any type of play out in the East?

DJ Kay Slay - I just think that everybody just has to put out good music. Look Game and Snoop get plenty of play anywhere. I know Snoop is a veteran, but Game ain't been around that long. So I think it's about the quality of music that brothers put out and beyond that it starts at home out in the West. What I get from a lot of West Coast artists that are coming up and that have been around, is that niggaz on the radio don't show them no love. What you are asking me is somewhat the situation that the new East Coast cats are in. They ain't getting crazy love from mainstream radio at home so how do they expect to get it elsewhere. It's the same thing with y'all. Y'all have the same problem and that ain't me saying this. That is what I'm getting from my brothers out there.

thaFormula.com - How did you come across Papoose man?

DJ Kay Slay - I found hip doing what a lot of muthafuckas are gonna do. Papoose was right in front of Hot 97 every shift going hard, giving niggaz his cd and everything. At first we didn't hit it off to good because he was a little arrogant. But he had the hunger to get on. Anybody that knows how Hot 97 is, knows that there is hundreds of niggaz outside trying to hand you music. So when I finally did get a chance to listen to him, I said damn this dude has something to say. That means more to me then a muthafucka that has a hot record. It's not the hot record, but what he is saying. Because at the end of the day, that's what is gonna keep you relevant and around this muthafucka. We all know them one hit wonders. So I just figured, if he had some better production and just some guidance and direction, this nigga could be a star. So I invited him up to the show one time with Mobb Deep and my man Littles. When that mic came on, he had something to prove man. After that, there was nothing to talk about.

thaFormula.com - Were people surprised with Pap and had most people not really been up on him?

DJ Kay Slay - Anybody that is really into Hip-Hop would have known that he was on Kool G Rap's album in 1999 and he also had a song with AZ. He also had the "Alphabetical Slaughter" song in 1998. So he had been around, it's just on an underground level. Nobody ever really embraced him or tried to work with dude. A lot of people don't want to get into something that they really don't know about. Papoose goes over muthafuckas heads.

thaFormula.com - How hard do you think it's gonna be to really break him into the mainstream?

DJ Kay Slay - Well right now niggaz already know who he is. He's been on one of the biggest videos this year. He's been on a record that's been nominated for a Grammy the "Touch It" remix with Busta. So they know him on the mainstream level. Now it's just about us coming out with the record with him on his own. So that's not even a headache for me. Look at what he has done already. He has 17 mix tapes out and he's got number 18 coming out on New Years Day. His mix tapes are equivalent to albums so we just coasting man. We ain't rushing into anything. Were just taking our time and everything is coming together where it's supposed to be.

thaFormula.com - Lastly, what is the one rule a person should live by when trying to get deep into this industry man?

DJ Kay Slay - Don't trust nobody in this industry and you will be alright. This is business and as long as you keep a business mind on you, then you are good. If you start trusting muthafuckas and thinking they are your friends and they love you, then you got a fucking problem.

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New ILL BILL Interview - Allhiphop.com

Building an empire is no easy task. But that’s exactly what rhyme czar Ill Bill has been doing ever since he hopped on the microphone. Whether it was representing Non Phixion, one of the most underground respected and politically charged Hip-Hop groups of recent years, tackling a solo career, pushing his label Uncle Howie Records or preparing for the future with his new group La Coka Nostra, there is no questioning Ill Bill’s work ethic.

On the heels of his most recent release, Ill Bill is the Future II: I’m a Goon!, the creation of La Coka Nostra and the scheduled release of Bill’s spring 2007 album, The Hour of Reprisal, Ill Bill sat down with AllHipHop.com to discuss his mixtape, collaborating with Raekwon extensively, and the potential signing of somebody Infamous to �90s rap lovers.

AllHipHop.com: You’ve got the new album Ill Bill is the Future II: I’m a Goon! What were you trying to do with this new album?

Ill Bill: It was really time to tie together everything I’ve done over the last year. There are a lot of collaborations. It’s fun to introduce the new group La Coka Nostra. It’s a combination of introducing those people and holding the fans over until my next album, The Hour of Reprisal, which comes out in late spring 2007.

AllHipHop.com: How does your approach to this album differ, if at all, from your approach to previous albums?


Ill Bill: It’s a mixtape. But when I say that, I don’t want it to be literal. It’s a mixtape but the way it’s put together and the songs released are of album quality. What makes it different than an album is that my approach to albums is more conceptually driven. This was more just me spitting and bringing that �rah-rah� s**t.

AllHipHop.com: What were some of the things you knew you wanted to touch on with this release?

Ill Bill: More than anything, I just want to prepare people for what’s coming. It’s more of an interlude from what I used to do with Non Phixion and what I am about to do with my solo career. When I was with Non Phixion, I was totally into that and pushing that �logo� down people’s throats for 10 years. And while that imploded, my solo s**t started to jump off. And it’s been organic. It wasn’t even something in the beginning I wanted to push. But the response I got, that has been the push for me to do my solo career. This album is just a continuation of what I’ve been doing with Non Phixion, and to an extent with my brother, Necro. This is just a new chapter in my book; this is me constantly evolving. You see an album every year. But soon you’ll see three or four albums a year, and now the production side of me is coming out as well. If you look, I produced three or four tracks for the new album.

AllHipHop.com: You recorded a few tracks with Raekwon from the Wu-Tang Clan on this album. How did that connection come about?

Ill Bill: That’s my homeboy. I want to give a shout out to DJ Riddler. He’s Rae’s DJ. I know Riddler, and from there Rae and I just clicked up. We banged out a joint in the studio, and the next thing you know, we have five joints done.

AllHipHop.com: What was the experience like recording with Raekwon?

Ill Bill: It is what you think it would be; weed smoke and hard beats in the background. It’s a beautiful thing.

AllHipHop.com: Are there any future songs or albums that could be made between you two?

Ill Bill: We’re absolutely trying to do something together in the future. But with him getting signed to Aftermath, it’s been kind of hectic. We’re going to be working on stuff in the future and we wanted to plan a mixtape. We are trying to work together and do something. Me and Rae did a joint for my new album coming out in the spring. I grew up on Wu-Tang. So that was a blessing. In fact, Raekwon, Jeru the Damaja and I, we were just recently reminiscing on what’s been missing in the game. I’m going to be working with Jeru soon. But we’ve been doing this a long time, and we have a right to voice our angle. And we’re going to deliver that. And people better be ready for that.

AllHipHop.com: How did your new group La Coka Nostra come about?

Ill Bill: That’s the brainchild of Danny Boy [of House of Pain fame]. That was just a bunch of homies working on a mixtape level and growing some verses on a track. We were having so much fun, yet creating such ill, knocking s**t; we knew we had to make it more than a side project. And now it’s a group. There is me, Danny Boy, Everlast, DJ Lethal, Slaine and Big Left.

AllHipHop.com: With Ill Bill is the Future II, what is the one thing that continues to drive you to release music and put out new material?

Ill Bill: I love doing this. I love music. I love making music. And from the studio process, to the touring, to filming videos and every aspect of the game is ill to me. Even the marketing process is dope to me. I enjoy doing it. That’s where the behind-the-scenes aspect comes into it. That’s the beauty of it all. And I’m able to generate money doing it. And that’s the ultimate �f**k you� statement to everyone that said I couldn’t do it. Every new song and release is a �f**k you� to those that thought I couldn’t make s**t pop in hip-hop. It’s the most enjoyment I’ve ever had. I’ve never had a real job, and I don’t feel like this is even a job. It’s a beautiful thing. It’s only getting better every day.

AllHipHop.com: What went down with Non Phixion and the decision to disband as a group?

Ill Bill: It got lame. When you see a monster truck run out of gas, or, even worse, an Indy 500 race car crash into a wall and explode, that’s what happened to Non Phixion. It just didn’t work out. That’s not to say that three of the four members aren’t still homies. But when you’re in a group, it’s like a marriage. It’s more than one person too, so it’s worse than a marriage. When you are in a group and one person isn’t on the same page, it can work for six months or one year. But three or fours years into it, and they aren’t on the same page, it implodes. One man caused the implosion of the whole group. I don’t want to kick dirt on him. But that’s what happened. I got to do me. And more than likely, 99 percent of Non Phixion is doing what I’m doing anyway.

AllHipHop.com: Is there any hope for another Non Phixion album with or without Goretex?

Ill Bill: Not any time soon.

AllHipHop.com: Do you still remain in regular contact with everyone from Non Phixion?

Ill Bill: Eclipse is helping me right now. In January, Sabac is flying in to work on his album. Everyone involved with Non Phixion, they can do what they want with me or not. There is room out there for everyone. No one is stopping you from doing what you want to do.

AllHipHop.com: How has your recording experience as part of Non Phixion helped you as a solo artist now?

Ill Bill: The experience of being on tour and being in the business, most of the time, I wasn’t concentrating on a solo career. But I learned a lot about the business. As far as making solo records, I find it harder in that you’re responsible for the entire track. You can’t rely on someone else to make the hook. On the other hand, you don’t have to deal with other people’s opinions on a solo record. You don’t have to compromise. I am having fun doing this solo album, but I still want to be in a group. If it were up to me, Non Phixion would still be a group. If you notice, in three months, La Coka Nostra will be out. Boom! I can’t escape a group. With Non Phixion, even though it broke up last summer, we hadn’t recorded any music since 2003. There hasn’t been a new song. We haven’t done anything new. Non Phixion has really been more or less trying to keep the boat afloat for this long. Everything that went wrong with Non Phixion, I’m applying to my solo career in knowing what not to do.

AllHipHop.com: Uncle Howie Records has grown over the years. There was a point where Non Phixion was dropping an album, Q-Unique, Mr. Hyde, Necro and all of the guys with Non Phixion were all releasing solo albums. Both Necro and you released an album. Is that driving force going to continue with Uncle Howie, or have things leveled off?

Ill Bill: Everything I do is Uncle Howie. Right now we’re talking to a few distribution companies and setting up a new deal with Uncle Howie. But there will be resurgence with Uncle Howie. And that’s we’re trying to do. You’ve been seeing what’s coming. Things are bubbling. People are talking. People want to know what’s happening with La Coka Nostra. When I did that track with Big Noyd, �Street Villains,� people checked that out. Next year, you might see a Big Noyd album on Uncle Howie Records.

AllHipHop.com: There have been a couple of rumors regarding your brother Necro and Suge Knight. Is there any connection?

Ill Bill: Not as far as I know. I know they’re cool. But as far as anything else, I don’t know. A Psycho+Logical and Death Row Records collaboration would be news to me.

AllHipHop.com: What does the future look like for Ill Bill?

Ill Bill: The future looks f**king beautiful. Just aside from my professional career, I recently got married and we had a daughter. Everyday is a blessing. I really couldn’t be happier with where I am. I’m constantly grinding. I’m working hard; not just working hard, but working smart. This is my time. I’ve been in the game for a long time and I’m just tripping off of the fact that people are giving me love on the level as a new artist. People are checking me like I’m coming as the new dude with that next s**t. There is nothing better than that.