Real Talk: The Don Bishop Agallah [August 2006]

Eddie Propane hasn't always been. The mysterious looking cat rocking dark shades on underground album and mixtape covers with hair draped passed his shoulders wasn't always engulfed in a purple mist of haze and glory. Agallah is what New York Hip-Hop is all about: concrete struggle. Life has chewed up and spit him out on many occasions. Fighting for his own breath and moving forward through the pain of lost loved ones, abject poverty and betrayal, Agallah always remained true to his craft, motivated by his love of hip-hop. In the 90's, the artist formerly known as 8-off the Assassin gained notoriety for songs like "Ghetto Girl" and "Crookie Monster." Unfortunately, record label turmoil began early in his fifteen-year journey. Bouncing around from Tommy Boy to Elektra, the Brooklyn native's chance at stardom seemed bleak. But faith in a higher power and an incessant will to succeed surged through his blood as he ripped open mics, decimated rap battles and went on to trail blaze the Dipset affiliate, Purple City. Get familiar, homey. You should already know. This is real talk from The Don Bishop, yao ming?!

What’s the feedback been like for Propane Piff?

Ag: God has arrived. It's a long awaited breath of fresh air. I share this with all the homies that watched me grind and come up. Propane Piff was indication to the streets that I'm here. Real talk, this is my life.

When did you come to that vital realization?

Ag: After helping so many artists become stars and as a veteran, making Purple City what it is today. I would define Purple City as a needed sacrifice because we didn't have any opportunities. It was about making a name for ourselves, working together and moving up. Before I came, Shiest didn't know anything about independent until I showed him the key players. Chuck Wilson gave us our first shot and helped us to independently sell 40,000 units. Purple City was still doing numbers in the streets with the mixtapes, being affiliated with Dipset and consecutively putting out fifteen mixtapes in one year. We built this from the ground up, on our own. Now, it's only right for the majors to come see me on my terms. I just bumped into Lyor Cohen the other day. I haven't seen him in ten years. He was like "you're doing good, come see me." It's a lot of politics involved. Purple City and the Dips are eating at the same table, them being with Koch and us over here at Babygrande.

Knowing your history and rough upbringing, how does it feel to finally drop your first solo album?

Ag: I feel vindicated. After the trials and tribulations that I went through in my life, it’s a true testimony that you can make it. Even if you've been dealt the worst hand, with faith in the Most High and faith in yourself you can overcome any obstacle. I watched my moms get murdered over cocaine; all my friends I grew up with are locked away in jail. I almost got murdered twice...This is my journey as I'm trying to do music. Coming out of all that is a true testimony. I am the truth. Plenty of times I was left for dead. How can I not survive this industry when I survived all of that?

Real talk. How do you convey your personal journey to listeners with this new project?

Ag: You Already Know is a timeless work of music. It's addressing real shit going on right now; the fraudulent level that the industry has come to and the culture gone wild. The importance of Hip-Hop and where it comes from is embedded in the LP. It's a personal album. I'm not on a major label but I multi-tasked and put in a lot of work to make this record possible. I brought in my homies: Kool G. Rap, DJ Premier, dead prez, The Alchemist, Nappy Roots and Ike Eyes. These are dudes that I not only knew I could make hits with but also have genuine love for. I wanted to show diversity by working with legends, up-and-comers, and revolutionaries.

Give us some background on the song “Cry For Help.”

Ag: There was a time in my life when I was in need of help, left for dead. I was homeless and living on the streets...Just thinking about life, you feel all hope is lost. I was talking about my relationships, street life, living in the hood, disloyalty...A lot of things made me realize that I was alone and at the end of the day, I'm going in the casket by myself. It's the Most High and me. That record, all that shit building up, that was my cry for help. And there are a lot of us crying for help and we don't want to let out that inner pain. It might not be manly to shed a tear, but when you’re alone in deep thought, you reflect on it. A lot of rappers overlook that.


the source

Styles P: Built To Last - Part 1 [July 2006]

David Styles is a self-proclaimed problem. He's adamant about you knowing it, absorbing it, and passing the declaration on to the next man. More often than not, listeners are overrun with gangster tales and tough talk that varies from phony album rhetoric, fabricated industry imagery, and true-to-life hood legends and trap stars that fall way short of below average lyricism and quality effort. Fortunate enough for rap fans and authentic Hip-Hop heads alike, today is a Holiday.

Styles P not only knows "The Key" to life, but also, the foundation of what makes a man. Being raised in the ghetto, trapped in the revolving door of prison and the block, there's no where to go but up. While only one person is sure of what Styles has witnessed, his vivid storytelling and relentless verbal savagery can make you feel like life is the biggest horror flick of all. But there's the gangster, and then there is the gentleman. The anthem “I’m Black” resurrects a Panther's spirit and a King's dream. How often does the community receive positive inspiration from Hip-Hop music without it being deemed as corny or too far left?

Sitting in Harlem’s Juice Bar, Styles P finds comfort in his surroundings and the conversation. The often quiet MC revisits the records, roles, and group’s that hooked him into Hip-Hop before hooks were required. The artist isn’t afraid to admit emotional connection to his lyrics or spiritual connection to the triumphant life he’s led. But the man who calls himself “The Ghost” aspires to use 2006 and Time is Money to make his “hardest out” title more visible, and his presence much more problematic.

AllHipHop.com: We're in the health food spot. Are you a health conscious dude?

Styles: Definitely.

AllHipHop.com: Have you always been that way?

Styles: A good five, maybe six years now.

AllHipHop.com: Vegetarian?

Styles: Yeah, but I eat fish. I don't do the dairy products, chicken, or beef.

AllHipHop.com: You feel a difference?

Styles: Definitely so. Plus, I got into it because I have kids. Nowadays, all the s**t that's going on with the food, you've got to feed your kids right. You gotta lead by example. You can tell your kids to do the right thing, but if they don't see you doing it. Basically, it's just me being conscious of raising my kids.

AllHipHop.com: What makes you such a spiritual person?

Styles: I can say I've always been spiritual my whole life. My moms is a spiritual person. I grew up in a Christian household. When I was 12, I grew interested in Islam on my own and started reading books, pamphlets and going to the mosque. Religion's not for everyone. I don't knock people who are into religion no matter what they believe. That's for them. Personally, I'm more so spiritual, and I keep my relationship with the Higher Power. He knows what I'm gonna do. I'm just living out the physical. Sometimes religion is real judgmental of one's character. And only God can judge me. Other people can judge you, but it doesn't count. But it counts when the judge in the court judges that ass and you going in.

AllHipHop.com: Does being a spiritual dude distinguish you more from the other L.OX. members?

Styles: Yes and no. You don't know how spiritual they are; I just vocalize it the most. Everyone is spiritual, whether they know it or not.

AllHipHop.com: What was your upbringing like in Yonkers, New York?

Styles: That's a difficult question. As far as family, my mother's from South Africa and my pops is from Brooklyn. They separated probably when I was eight years old, and I stayed with my moms. To be real with you, I come from a trials and tribulations family; street backgrounds, alcoholic backgrounds, I'm a kid that was in a group home, so I come from a lot and had to maintain and be strong. I also come from not listening to my moms, running the street and doing what I want to do. I learned the game at an early age, knowing older hustlers and the street life. You got a foreign mom going to school... I wanted [to be like] Delta Force in sixth grade. I also worked mad jobs, different stock jobs, I did all kinds of s**t just trying to stay right. I moved out at 17.

AllHipHop.com: That work ethic was instilled early.

Styles: That was always in me. That comes from my moms, a family of hard workers. Being foreign, getting a green card and your own place isn’t easy. If you want to get something, you keep going and working hard, pray to God and be thankful that you're alive.

AllHipHop.com: You've seen New York go through significant changes. What's the biggest difference from the '80s to '90s and now?

Styles: The MCs ain't nice. That's the biggest difference; there aren't as many nice MCs. When I was coming up, I was listening to Afrika [and] Mike B [in the] Jungle Brothers, EPMD, KRS, Kool G, Rakim, Kane, Craig G, Stetsasonic, Ultramagnetic, Chill Rob G.. that was crazy! From the ‘90s era, it was Nas, B.I.G., Hova, Wu, the Lox, early Mase, Big L, the list goes on and on. Nowadays, if you don't got no radio s**t or no hooky songs, you f**ked up. They don't really care if you're a nice lyricist.

AllHipHop.com: Is it that way because Hip-Hop has become more popular or because of an increase in competition?

Styles: To me, you got Hip-Hop and you got the Industry. Where I'm from, Hip-Hop is you getting the underground s**t first. That's Hip-Hop. You ask someone else, it's the latest song that's on TV and radio 20 times a day. It's different to everyone, but it's all intertwined. Hip-Hop is knowing the earliest, hottest n***a before he's even out.

AllHipHop.com: What were some of the early trials and tribulations that the L.O.X. had to face before getting into the game?

Styles: Like everyone else, the streets. Getting out of high school, dealing with coming up as black youth. Just being a teenager trying to make it. With me, I had gun charges at like 19... just being caught up in the streets.

AllHipHop.com: So even before the deal, the L.O.X.’ music was felt?

Styles: Before we were the L.O.X., we were the Warlocks and before that, the Bomb Squad. It used to be ‘Kiss and Sheek. They were The Jungle Brothers and I was Q-Tip, or they were EPMD and I was K-Solo. They've been real professional since we were young. I was always good in the streets, but they were good in the booth early. They were from one side of town and I was from the other side of town. I got up with them around Junior High/High School and they were polished.

In school we were always flowing. A bunch of young MCs just going hard in ciphers. We would go hard, make tapes and give them s**ts out. We'd be in the studio... we were on the indie route in high school. We started selling our tapes ten dollars a whop. You get you a good eight songs and we were hard, we were hot. I was on songs here and there and hooks.

AllHipHop.com: Those early tapes are probably worth a lot of money now.

Styles: That's classic material.

AllHipHop.com: Your tenure in the game has been a minute and you get a lot of respect from the streets. How important is commercial appeal at this time?

Styles: Honestly, right now in my life it's more important than ever. Without that, you don't really get no money and you can fall in the dust. I could say my hardest verses, but people always acknowledge my simpler verses. "Get High" was simple to me. It was that s**t, but it was simple. "Locked Up" was simple "My Life" was simple. All that radio s**t is simple, not to knock it, but I didn't go in my core for that.

I try to balance it out. Before, I used to block out the commercial s**t. I don't really know how I got a little commercial success, to tell you the truth. I've just been honest, them joints hit home because it's the truth. "Get High" is my life. Being "Locked Up," I know about, so it was the truth but it was easy for me. I gotta be thankful and grateful because they're still getting to know me. On the real tip, a couple of white kids came up to me the other day and said "They f**king jerked you on 'I'm Black.'" I'm like, Wow, that s**t was crazy to me!” They felt it was a real song. SP isn't prejudice, but SP is pro-Black. There are plenty of white people in my life that have helped me out. SP is prejudice against those who are prejudice. I feel sorry for them. Before I was like, "F**k you." Most people that are prejudiced against you are going to be your own people. That's the double-edged sword. With "I'm Black," there were plenty of black DJs who could have played it. But I know they couldn't play it because they may have felt that they were stepping on their own dinner plate. I can't expect that. I've been through the most s**t, and I've got the most street credibility in New York. I'm going to take my time out to say something to the youth because I'm concerned. I've been in jail, sat and stared at those four walls, saw thousands of homies that got jerked and to say, "Damn I feel sorry for that n***a, that's my homey and he got 20." I still got to say something.

AllHipHop.com: We're in Harlem, 125th street. In a recent article, Hell Rell proclaimed to be the hardest in the streets, which is known to be your rep. He said he "respects SP, but as far as the hardest in the streets, he's not f***ing with me." I wanted your thoughts regarding that comment.

Styles: I like what he's doing and what he's saying. I like that hunger. It's going to take him awhile to do what I'm doing. Jim Jones is my man, and I'm cool with Cam. Dude pays me my respect and I can't knock him, that's the attitude I came in the game with. I'ma earn my s**t and be the hardest in the street. Y'all n***as gotta earn it. You gotta go a long way to take that SP title. You got a long way to go, bro. You working on it, but you got a long way to go and I'm nowhere near rusty. I'm just warming up. I'm a problem. I do this off blunts. Anybody who's ever been in the studio with me knows no pen and paper ever. I'm a problem! I got six albums right now. I like the boy's ambition. But you gotta wake up early to f**k with me. Everybody, the best. Only n***a nicer than me is B.I.G. point blank, period! You might be slicker, more punch lines, but you better check my repertoire, everybody. It'll take every rapper on the East Coast to start to break my exterior. That's motivation for me. When he says he going for that title, who he says got the title? The Ghost.

AllHipHop.com: You said you have six albums. When can we expect Time is Money to drop?

Styles: It's coming in August. They can't stop me. Get the next “Ghost” mixtape, if you saying a n***a f**king with me. Tell him he gotta wake up early. I want AllHipHop to know what the kid's about. The kid's about making songs like "Favorite Drug," "Can You Believe It," [and] "I'm Black." Then the kid's about putting out five hard mixtapes a year. Hard! Beginning to end, you can't deny it. Everybody's beats rip! I been here, been with the best of 'em.

Styles P: Built To Last - Part 2

AllHipHop.com: Many consider A Gangster and a Gentleman a classic. Would you agree?

Styles: If the streets say it, I'm riding with it. That album was a challenge for me. They were like "He's good with the Lox, he's hot on mixtapes, but can he make an album?" I know they didn't expect me to do as good as I did. And I felt stupid because I went to jail and I could have done better. Everybody loves me because I'm underrated; "You that n***a and you don't know it. You that n***a but you underrated." I'm good with that, because somebody realizes it. If I'm the hardest on the streets then I'm good. I did what I came to do. Now I'm going to the next level. I wanna make songs that pop in other categories and go in other n***as lanes. Get 'em scared.

AllHipHop.com: I hear you. You speak about not using a pen or pad when you freestyle or make songs. What's the process like? Briefly take us into the studio...

Styles: The process is blunts. Being in the zone and reading. I read often, think a lot, watch good movies not just gangster s**t, and just life. Regular day-to-day basis, I got a lot of s**t on my mind. I got a lot to say.

Really the no pen and pad s**t, I'm not going to front like it's a special thing. But since a youth, I've always had an off-beat/on-beat flow. So it's kind of difficult for me to read off the paper and catch my flow. I'd always have a problem since I was smaller reading off the paper. I've been doing this since I was seven - rhyming. I had difficulty getting my bounce off, so I said f**k paper. Anybody can do it. It's like an actor remembering his lines, who keeps saying the lines in his head until he gets it. Sometimes I come with verses; I don't know where it came from. To tell you the truth, I just be zoning out in the studio, going in.

AllHipHop.com: A lot of your music hits home. Have you ever shed a tear in the studio?

Styles: S**t yeah. Hell yeah. Making "My Brother" [and] "I'm Black" was kind of difficult. It was emotional because I knew it was a big risk. It made me cry way after the song was out 'cause of how they wasn't playing it. One day, I sat and just broke down. It's crazy. The most gangster n***a they always criticize, Hip-Hop [fans and] the critics... And here you have the hardest n***a doing it, and they won't play it. Sometimes you can't win.

AllHipHop.com: Let's talk about tracks for a minute. What was behind "The Key" off of “Ghost In The Machine”?

Styles: Sometimes, I just say what I wanna say. A lot of times, I won't say a verse, because I'll feel that they won't know what I'm talking about or understand where I'm coming from. My man Vinny made the beat. I was just saying what I thought was the key. I was breaking down how I survive and how I stay strong and what the key is for me. I be in another realm sometimes. Sometimes life is good. But most of the times it's f**ked up out here. Life is deep.

AllHipHop.com: It seems like you and Jada be having fun with the whole G-Unit parody. The "Ms. Jackson" joint being a good example…

Styles: As far as business, I respect 50. On the real tip, he did something n***as haven't done in years. He capitalized and I think he's a very intelligent businessman. But I'm outside. You see where I'm at. I'm here by myself, Harlem, The Juice Bar; this is what I do on a daily. I'm all over in the streets... For any one of these n***as to get one up on me, you gotta do this. Not to say that you didn't do it before, but if you want to talk about it you gotta do it now. You can't s**t on me when I do this, and you made it and you don't do this. You might have done it, but you don't do this. I put my s**t on the line everyday out the door. And it's not because I'm ignorant... If I had made if off bricks, acting, construction or whatever, I would have still had to know them n***as where I'm from. These n***as ain’t making me run and hide 'cause I got on a Jacob watch. I came in a nice car. I got whatever in my ear, my ring, or my chain. If it's in my hand, it's in my hand. But I carry myself as a man and I do what I gotta do when I gotta do it. So don't start disrespecting a n***a who does that, especially in the game.

AllHipHop.com: Unfortunately, we've seen hyped up drama play out in a very negative way. As a man, how do you keep everything in check so it doesn't get out of hand?

Styles: If we felt it was dangerous or worth dying for we wouldn't have been rapping. If I'ma beef with a n***a and I feel like it's gonna pop off or go down, then we ain’t even gonna rap if it's that serious. You know where n***as is from, so no conversing' and all that.

With the Beanie s**t, after awhile that had to stop ‘cause that's a n***a who be in the streets, we some n***as who be in the streets, so sooner or later these bullets is gonna fly, and is it really worth it? ‘Cause we knew him, and we was cool with him, we knew their repertoire and they knew ours. Fortunately, we didn't see each other for dumb long. That must have been Allah's will. He's one of the n***as we gotta respect in the game and show love for, ‘cause he's hard and he spits that s**t. But at the time when it was beef, do you think if we would have seen each other somewhere at a party, mishaps.... That was a rap beef but it wasn't no rap beef.

AllHipHop.com: Why did you perform at the I Declare War concert?

Styles: Why not? It wasn't for the paper, it was for the love. Me personally, as an MC, I respect Nas' and Jay's work. Regardless of what we went through with the Roc before, we're grown men. I come from a place where we go through disputes over many things much deeper than that. I've been through a lot and I've seen people that I've done things to and that have done things to me. I see them on the streets and I can let it go. Small s**t like rap s**t, I can let go. It was a beautiful concert to me because those were two of the best of our time. To know that you could possibly hear a song from them, that's strong and positive. To be able to say "I can put this to the side," that's being a man. I respect men. Some people don't understand it, knock it and say that it's corny, but I respect it.

AllHipHop.com: Should they still name a mixtape award after you?

Styles: S**t yeah. Hell yeah. God bless Justo, rest in peace. But they don't do it like I do it though. I hate to say it, but when I do it, it's a problem. They're still talking about “Ghost In The Machine” and that came out a lot of months ago. Wait 'til you hear the new one. Wait 'til you get a load of me. It'll probably be out in a couple of weeks. And I got my young boys on it this time, some new D-Block soldiers: Team Arliss, Carolina, T Juan and Don D, Snyp Life, Bully from 354 and Buckie from Philly.

AllHipHop.com: Is it still safe to say that you're everybody's favorite rapper's favorite rapper? Styles: Definitely.

AllHipHop.com: Why wouldn't you want to just be everyone's favorite rapper?

Styles: I'm good. I argue with n***as in my hood sometimes. They come to me like "Yo this n***a’s coming for your head." Them n***as either love me or they scared of me. N***as can't f**k with me. Maybe in four or five years, but right now you know who got the most street credibility in New York. No one but The Ghost. You can say what you want, but they don't do it like I do it. I don't come with a bunch of n***as, no security, I don't need nobody. I'll go anywhere, do anything, I'm well respected and my rap sheet is ridiculous. Y’all bullsh*ttin', reliving your older brother and cousin's story. I live this. I'm the artist out in Cali looking for chronic, that crippy and kush. I'm not the n***a without his homies in the hotel room with security. I'm built everywhere I go.

Louie Rankin: The Last Don [June 2006]

An original Jamaican Dondatta. The exotic island of black green and gold add raw beauty and rhythm to Hype Williams’ cult classic, Belly. The badass migrant from Kingston with the fly mansion in Queens, Ox, gave the film enormous credibility with a fuck-the-world image and run away final scene to rival that of Pacino’s Scarface. Audience members jumped out of their seats and roared with reverence as Lord Lennox went in, “Come on! Me’ murder pussyhole people fi’ fun… Who wan’ test me? Come on!”

Louie Rankin is easy… busy, yet relaxed. After a long night in the recording studio and return from briefly touring, he’s ready to pause for reflection and a good home cooked meal. A senior with experience, he casually educates about the tumultuous beasts that infatuate and entertain many. The music and movie industry have both been kind to the man most admire as Ox. He’s been deemed a leader and hero in both worlds. Popularity and critical acclaim of the underground smash, Shottas, has done nothing to slow Rankin’s progress and mass appeal. Listen close as he breaks down the difference between New York and Jamaica. With the everyday struggles of the common man close to heart, Louie Rankin shares his motivation for working hard and spares no expense at returning sincere love to the people.


Swagg News: You’re definitely an O.G. in the game. Coming from the West Indies, how did you get started?

Louie Rankin: I’ve been doing reggae music for 25 years. I’m one of the dance hall center of attractions, you know what I’m saying? People like me, Super Cat, Shabba Ranks… I started out a few years before them. When Shabba came out is when I came to America with one of the biggest hit records out in Jamaica. When I signed a deal with Warner Brothers, a Hip-Hop production company by the name of Trackmasters reproduced the single “Typewriter.”

Swagg News: Yeah, I remember the Showdown and Lethal Weapon albums. Are you still doing music or putting out anything new?

Louie Rankin: Right now I got one of the hottest albums, not too long finished, with Roscoe, production by Solji, a group called Danger, we’re putting together this album called The Resurrection. We’ve got a lot of good songs on it. I worked with a lot of Hip-Hop artists and the album is real hot. When it drops it’s going to be something…

Swagg News: When can we expect that?

Louie Rankin: Right now we’re working with Universal to get deals straight and situations cleared up as far as distribution, that’s just what we’re going through now but we’re ready to drop. The album is done.

As far as Hip-Hop I got John Doe, another rapper signed to Timbaland, some R&B singers on the album. I worked with a lot of unknown artists with talent that are ready to come up. The album is hot! I didn’t try to work with any big name artists. I’m already a star. I wanted to work with someone that has talent and wants to be successful. That’s how the collaborations came about for this album because there are a lot of good young artists out there and I wanted to work with the best ones.

Swagg News: That’s what’s up, definitely something to look forward to. To transition a bit, how did you make your way into acting?

Louie Rankin: Acting is a gift to me. I know Hype Williams from him doing the “Typewriter” video back in the day. He knows me a long time and saw how I was a hardcore gangsta DJ of the dancehall; he put all that together and said, “Alright, we wrote a movie called Belly.” That scene that you see me in, he wrote that with me in mind.

Swagg News: The role of Ox was specifically for you?

Louie Rankin: When I got the call I hadn’t even read the script. I was in Arizona. Hype said “You gotta come to New York, I’m shootin’ a movie tomorrow.” They had everything set up; budget, location, everything. When I got there they gave me a script. I just wanted the treatment that shows the outline of the movie. I said it was cool but I gotta do it Gangsta-Jamaica way. I had to do it my way. Hype gave me the green light.

Swagg News: There was a lot of authenticity with Belly. The realness of Jamaica was brought to the viewers.

Louie Rankin: A lot of these movies come with fake people, non-Jamaicans with phony accents and it’s not real. I was the first to bring that original street element to the American motion picture screen. I came really hard and it made a huge difference.

Swagg News: The chemistry was there on set, especially between yourself and DMX.

Louie Rankin: That’s my boy. I’ve known him for a minute, way before the movie. It was like a family affair when we were making the movie. That made it powerful. We get along everyday. We hangout after the shoot, drink some Hennessey, smoke some shit, talk a lot of shit, females going crazy hanging around the trailer.

Swagg News: One of my favorite movies is Shottas.

Louie Rankin: Did you know that Shottas is one of the highest grossing bootleg movies in the streets ever? I had fun shooting that. I was out in Miami for three months shooting that movie in South Beach. That’s the movie right there. Sony pictures is trying to get the rights to it for DVD clearance and I think they’re going to also limit it to certain theaters cuz they’re planning the sequels.

Swagg News: What’s the difference between the movie business and the recording industry?

Louie Rankin: Different levels. Movies are top of the line. It’s good cuz you can sell a few million albums, they put it all together right and you’re recouping a lot of money right there. With movies, you get your millions up front depending on the budget. If it’s a hit, you’re going to keep collecting and the movie business lasts forever. You can be a movie star at age 80. The music business caps off at a certain age where you can’t even fuck wit’ it. It’s a lot of aggravation. Movies, you work and chill.

Swagg News: What artists get burn in your stereo system?

Louie Rankin: I like Sizzla, listen to him all the time. One of my favorite songs right now, I even got it on my phone, an Atlanta artist… “Meet me in the club/It’s going down…”

Swagg News: Young Joc.

Louie Rankin: Yeah! That’s my song. I like that shit.

Swagg News: How would you compare New York to Jamaica?

Louie Rankin: Jamaica is a different vibe. New York is “Big Jamaica.” There are a lot of us in New York. There’s a lot of different energy, food and cultures here. Jamaica is harder, especially when you’re from the ghetto. You got to get up and live from day to day, working to put food on the table. In New York, you can run out there, hustle and get something going. You can get over. Jamaica is one of the most beautiful places in the world, but it’s hard.

Swagg News: After Belly came out; you were a hero, definitely the standout star. The audience loved you. What was the reaction in the streets?

Louie Rankin: Whenever I leave the house, even if it’s just going to the store, people come up to me and show me a lot of love and respect. Wherever I go, especially if I’m in the mall. It’s all good. It encourages me to keep working hard so I can give my best to the people.

Music Review - Screwed Up Movement [June 2006]

Artist: E.S.G.
Title: Screwed Up Movement
Rating: ***

It seems like a long time coming for Texas' "Everyday Street Gangsta" E.S.G., a living legend to many and stranger to most. It doesn't get any thicker as far as hood credibility goes; the g'd up dboy stacked paper after being birthed in the trap, got hit with a murder rap and served a jail sentence. As time went on, the Texas underground was fed by one of the original members of legendary DJ Screw's Screwed Up Clique. His now succesful proteges (Lil' Flip and Slim Thug, along with many others) were molded by immortal material like "Swangin' and Bangin" and "Crooked Streets" from the classic album Sailin' Da South (1995). Amidst the solid rep and successful independant stretch, everyone lusts after that corporate paper and mainstream notoriety. While Houston may not be in the NBA playoffs, the city holds court here in the rap game today. This Hip-Hop pioneer from Texas that originally helped to make chopped and screwed music an everday thing in Houston, wants in.

Let E.S.G. briefly bring you up to date with the no holds barred introduction to Screwed Up Movement (Sure Shot). Over a soundwave that would appropriately announce the entrance of King Jaffe Joffer (Coming to America), E.S.G. serves up the three act story of his personal life and rap career; trials, tribulations and triumphs included. The lyrical dosage is potent enough as it vibes through the veins of this seventeen track disc. E.S.G. is most impressive when he taps into his incessant hunger and experience. His fast flow is his best flow, especially on songs like "Gorilla Music" and "Gotta Shine." A myriad of subjects touched upon and creative consistency from Screwed Up Movement represent for the Lone Star State in a major way. Brilliantly throwing children on the chorus of "Keep Getting It" runs neck in neck with Jay-Z's "Hard Knock Life" and "Revelation" is an inspirational testament to the vivid reality of today and tomorrow; "Medicaid and Healthcare, aint helping my granny/They bangin' in the South, better watch your family/Calculatin' my steps, through this gritty war zone, what the President gon' do when they bring the war home revelations..."

Slowing the speed of the project is the bitter taste in E.S.G.'s mouth, chip on his shoulder and contradictory bars. The Alphabet Murderer is superb on "Watch Yo Back" as he roasts Slim Thug for five minutes using every letter in the alphabet (except X,Y,Z). But is the interlude that comes before it necessary? He's explaining the fall out between himself and Slim, but comes off as a hater here and elsewhere throughout the album. As a veteran, the role of disciplinarian is often necessary, but can make the individual with more experience appear dated. A large focus should have been placed on tighter production, which would have brought more polish and luster to Screwed Up Movement.

A lot has changed since the Underground Bully bogarted his way into the game. Criticism of popular competition won't bring you success, but hot tracks void of contradiction will. The streets respect E.S.G.'s familiar rap sheet, but eyebrows raise as he boasts about his jail time and murder rap in one stanza, then downgrades and discards the experience in the next. Screwed Up Movement is rider music with a message and, along with standout guests like Chamillionare, Bun B and Jae Millz, is worthy offering.


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Devo Springsteen: Whip It! [June 2006]

A brother with strong business acumen is extremely important in today’s America, especially when you’re dealing with the pythons and cobras of the recording industry. Devo Harris is in a real G.O.O.D spot. He proudly encourages, “Naysayer, please show me one example why Kanye’s crew ain’t the s**t and I could refute you with five,” proving that he has some of the swagger that the label’s known for.

The one-time college roommate of John Legend in Philadelphia now locks himself in a downtown New York studio. On the verge of going to Pop and Rock music, this Grammy-nominated producer and DJ showed he was all about “Diamonds” without flossing a single baguette.

AllHipHop.com: Can you give us a brief introduction?

Devo Springsteen: People may know me from producing [Kanye West’s] “Diamonds,” and producing songs for John Legend’s first album, Get Lifted. I’m also John’s DJ and a producer for G.O.O.D Music. My name is Devo Harris, but my stage name is Devo Springsteen. Consequence started that, and it just circulated throughout our music family because I’m the boss. I really think it’s because I live in downtown Manhattan, I party like a rock star and know a lot of white people.

AllHipHop.com: What were your adolescent years like?

Devo Springsteen: I moved around a lot, did a lot of sports. I was real active between sports and singing in different choirs. I was more into sports than music. I played football and wrestled in college.

AllHipHop.com: Does having a Grammy skyrocket you to a whole new stratosphere?

Devo Springsteen: I don’t think so. Jermaine Dupri didn’t win a Grammy this year and people are most likely going to holla at him before me. The Grammy recognizes what you’ve done, but I feel that in Hip-Hop it doesn’t create any new opportunities. “Diamonds” wasn’t necessarily the hottest song of the year, but it’s depth made a difference. Depth sells records and that’s what you’ll get from me.

AllHipHop.com: Do you play any instruments?

Devo Springsteen: Nah, but what I do is real musical. If I don’t sample, I get musicians to come through and play everyday. So, I don’t know what a C or a G is…

AllHipHop.com: You’ve got a strong ear for music.

Devo Springsteen: Yeah I started DJing in the ‘90s out in Philly. John Legend was my roommate at [University of Pennsylvania]. Naturally, like so many DJ’s, I started making beats. And through working with Kanye and John things just evolved. They’re crazy musical and I learned a lot from the both of them. I try to implement all that into what I do.

I feel like I’m more of an executive producer. I don’t just make beats… I signed John Legend to G.O.O.D Music. There’s years of defining John’s sound. Even artists that John and I are working with now, we’re really working to define what they do. We also find other outlets and press opportunities for these artists to get exposure before their albums come out.

AllHipHop.com: Who are some of the DJ’s you look up to?

Devo Springsteen: Kid Capri is my favorite. I’m not too much into the technicalities of DJ’ing. I used to be into the scratching aspect, but now I’m more interested in making sure people have a good time. I do a lot of special events. This summer, I went to Africa and DJ’ed out there for MTV. It’s definitely all about the music, but on a grander scale, I’m trying to make some things happen outside of just making beats.

AllHipHop.com: What are some of the recent songs that set the club on fire?

Devo Springsteen: It depends on where you are. It’s mainly Down South records that are hot nationwide. It’s usually harder for me to play New York/East Coast records.

AllHipHop.com: Are there any genres outside of rap that you listen to?

Devo Springsteen: I like all types of music. I like alternative Rock and Pop music. I try to incorporate it in my sound and work on that type of music. When you hear John Legend’s new album, you’ll hear those influences. It’s not like the Beatles, but it is leaning left. I’m getting calls for Britney Spears’ label and I love it. I’m a Hip-Hop DJ, but I’m a fan of music. This past year I was up for Grammys in the R&B and Hip-Hop field. This year I hope to be up for Grammys in the Pop or Rock field. I’m very active about it, but Hip-Hop isn’t the only thing that defines me.

AllHipHop.com: What was it about John’s sound that made you sign him?

Devo Springsteen: Well, his voice is very soulful. That’s why they call him John Legend. And Kanye’s music is soulful, but they are both slightly different. So hearing them for years, I was imagining them working together and combining their unique sounds and what they could add to each other’s music. And working for Kanye, he was at the point where it was time to start his own company and sign artists and I felt John was the perfect guy. It was a no-brainer.

AllHipHop.com: How is G.O.O.D Music separate from the other sounds out today?

Devo Springsteen: It’s just exciting to even be involved. Tell me a flyer label, a more talented label. Kanye West, John Legend, and Common? Nine out of ten songs or artists you hear nowadays are reactive. “What’s hot, let’s react to it, the 2006 version, the girls version;” there’s a lot of formulas. With G.O.O.D Music, nothing is reactive everything is progressive. Kanye is the spokesperson for a whole genre.

AllHipHop.com: As a producer, what’s unique about what you bring to the table?

Devo Springsteen: I’ve lived overseas and all across the country. I have a perspective that a lot of producers can’t offer. I play in a live band and have DJ’ed around the world for years. I was an assistant to Kanye for five years and I have a commercial businessman mind. I offer musicality and I write. I want joints that bang in the club. It’s important to make records that are exclusively relevant to the artist.

AllHipHop.com: What’s 2006 looking like for G.O.O.D Music?

Devo Springsteen: It’s going to be a really exciting year. Kanye’s focused on blowing up G.O.O.D Music. He already started work on his new album; John Legend’s album is going to be coming out, Fonsworth Bentley… I feel like people know that if Kanye’s involved, the music is going to be decent at worst, if not classic. Common’s going to be coming out [in September]. GLC and Consequence’s buzz is gaining momentum. I’m doing a lot of different things; several major pop artists are in the works. Sa-Ra is crazy. There’s going to be a lot of exposure for G.O.O.D Music. We’re taking it real seriously and throwing a lot of events. Our branding is innovative and wholesome.

AllHipHop.com: What’s it like working with Kanye?

Devo Springsteen: It’s cool. Kanye is a genius.

AllHipHop.com: Genius?

Devo Springsteen: Have you heard anything wack from him? I know a lot of smart people. Music-wise and marketing-wise he’s a genius. For a Rap album, on Roc-A-Fella records, to have a stuffed bear on your album cover is crazy. “Through The Wire” he paid for. There were no labels supporting it, and without that you can’t get on the radio or TV. He’s able to talk things into existence. But musically, he’s on top of it and it’s spoiled me to work with other artists. John is talented the same way and they both put in a lot of work. It’s a pleasure and I know that whatever we’re working on is the next s**t. I’ve already worked with some of the best so I try to keep the bar high.

AllHipHop.com: What are some of the hardships that you’ve had to face?

Devo Springsteen: A lot of fake people. Promise-breakers, the dynamics of people and how cutthroat the business can be plays out as hardship. People are very reactive and it’s difficult going into a meeting with a banging record and hearing “Well, we really wanted a record like the one last year.” At times I would give in but I don’t think that’s going to get me any further in life. I saw Kanye go through the same thing. It’s hard trying to eat while not making the same stuff as everyone else. People are beginning to appreciate it and I feel like I’m turning a corner. I just produced and wrote a song for Aretha Franklin.

Kevin Epps: On Point [June 2006]

It's bigger than rap. It's much larger than any brand of clothing, record label of the moment, or 16-bar quotable. If Hip-Hop is life, are we living correctly? What is the voice of this generation of music-makers saying? More importantly, does what we see on screen accurately reflect our surroundings? And are we motivated to move forward in ways other than sexual and financial gratification? These are the questions that Bay area filmmaker, Kevin Epps tackles through the lens of his digital camera, sparking an educational and hood phenomenon.

With a sincere passion and artistic eye for social advancement, Epps has put local issues in global contexts, on screens across the nation. The measure of a man or woman can represent the circumference of an entire community. Epps' first film, Straight Outta Hunters Point uncovered the Bay's hunger five years before the mainstream. This film, like Epps' later work, shows the values and consequences in unaltered lights. A black man with a story is behind the camera, read on as his vision unfolds for bridging the digital divide.

AllHipHop.com: You're from San Francisco, California?

Kevin Epps: Yeah, I'm from Hunters Point, man: Southeast San Fran.

AllHipHop.com: Is it a diverse area?

Kevin Epps: It's a mixture. Low income public housing with lower middle class blacks. It's a grind.

AllHipHop.com: You came up in the '70s era, single-parent home...

Kevin Epps: I was born in New Orleans, and came through here in the '70s. Moms was the one that raised us.

AllHipHop.com: Is there a moment in music or film history that really influenced you?

Kevin Epps: Back in the day, Spike Lee was directing these Michael Jordan [Nike] commercials. There was this part when he was sitting in a director's chair. I was like "Who is this young black dude sitting in the director's chair, and why does he look so important?" That was an image that had a strong impression on me at an early age.

AllHipHop.com: When did you know that making movies was what you wanted to do?

Kevin Epps: I always had it in me. It's something I always had the passion for. After a few trials and tribulations growing up, I was fortunate to get involved with the Film Arts Foundation. That's where I learned more in-depth the process of taking a project from A to Z. I had to get involved, and I used the skills that I learned there, along with working with various directors on small projects to launch the film I wanted to make. That's basically how Straight Outta Hunters Point came forth. It's a flick about a black community dealing with social, economic, financial, racial, gang-violence issues and how Hip-Hop plays it's part in the whole thing. That film blew up, got some recognition and here we are now.

AllHipHop.com: What was the process like shooting Straight Outta Hunters Point?

Kevin Epps: Being a part of FAF, I was already taking out cameras periodically, going to the hood and doing little skits and music videos. I was working before the film, experimenting with equipment and shooting. I decided I wanted to tell a real story about this black community: the good, bad, and ugly. I asked myself the question "What is Hunters Point?" That's what set my thoughts and ideas in motion. I wanted a history of it to see where we came from. I started by getting information from the old folks, then I went to the streets where all the young homeys were at, and just got gutter wit' it, trying to make some sense out of this s**t.

AllHipHop.com: As far as Hip-Hop, who are you listening to now?

Kevin Epps: I've been listening to Mistah Fab, Hectic, Keak da Sneak, Mac Dre - rest in peace, basically the whole Hyphy movement. It's good to see their music and hard work finally paying off and getting the recognition it deserves.

AllHipHop.com: I think the game's been missing that energy. What's the up and coming project, Rap Dreams about?

Kevin Epps: Rap Dreams is about three young up-and-coming rappers Mistah Fab, Kev Kelly, and Hectic. We follow their lives over the course of a few years as they journey through the underground rap scene trying to make it. During the course of that, they run into Shock G and some other influential individuals in the industry who give 'em some direction. It's also about who they are and where they're from. I want to show the landscape that the music comes from.

We just released that project in independent theaters. It's also having a good run on podcasts. Anyone interested in seeing part one of Rap Dreams can go to www.rap-dreams.com and through the video podcast, see the first 30 minutes. We're trying to get this work out there to the people that really want it. It's true Hip-Hop, and we're taking it to the next level.

AllHipHop.com: You definitely seem like a brother who is involved in his community, trying to spark some positivity and shed light on a condition that's not always seen. Can you explain your philanthropic side?

Kevin Epps: I co-founded a Hip-Hop Film Festival that travels to 50 different cities and universities. We brought together various underground artists, filmmakers and activist that had the same passion and desire. We formed the festival in 2002. I'm also involved in various digital media programs because a lot of the young homeys see a black man with a digital camera, they see the level I've taken it to, and it inspires them to strive for something. So I'm trying to give the community access by bringing technology to the hood. I'm an advocate for trying to bridge the digital divide between urban communities and technological advances. Hunters Point is one of the first hoods to get wireless access to the Internet. So we're trying to move ahead with giving our people the best opportunities possible. The sky's the limit for the young brothers and sisters that embrace it.

That's what Hip-Hop should be about with this next generation. Not so much rap music, but the ability to empower ourselves with the resources to take our destiny and community into our own hands. We're trying to do that with digital media. Our focus is on the battle that's ahead. Cats is beefing over this rap s**t, but it's way bigger than that. The rap battles are cool, but why don't you redirect that energy into the hoods where we need help? It's gutter everywhere! Whether North Philly, Brooklyn, South Side Chicago, we got a big task at hand.

AllHipHop.com: Do you feel like the rappers of today are losing their focus?

Kevin Epps: They ain't talking about nothing political, nothing the masses are dealing with. It's cool, but it's not meaningful. It's time to step your game up. As someone in the media, I'd like to push the envelope more. That's the next move. The digital revolution is feeding the minds of the people.

This Hip-Hop means so much beyond the music. It's been my way of life. Finally, as black people, we have something that we [should] own. I feel like we could do more. To make something out of nothing is amazing. We're being passed the torch so we gotta do something with it to where it can benefit our community.

Music Review - It's Not a Rumor [May 2006]

Artist: A-Pinks/DJ Whoo Kid
Title: It's Not A Rumor (Mixtape)
Rating: ***1/2

The Empire State breeds envy. New York MC’s are in a weird situation at the moment, and with the Southern hemisphere enjoying much deserved success and mainstream airplay, up-and-coming east coast MC’s find it hard to fit into the rotation. There’s no need to bring New York rap back, it never left. The Apple is a place that breeds superstars and legends [Jay-Z, Nas, 50 Cent, LL Cool J, B.I.G etc.]. We’d all agree that those are Hitchcock shadows to step out of and Shaq Diesel sneakers to fill.

Competition is fierce and unpromising for amateurs. Queens has a reputation for birthing some of the best rap talent to date. This native has a sharp wit and limber flow that will distance him from Tuesday and Thursday’s trash. Highly capable of rubbing elbows with NY’s premier fire starters, Ravenswood Projects’ own A-Pinks is confident in his ability to outshine anyone bar for bar on a higher level. Long scratch goes far in business, especially in the music industry. With his DeadArm team assembled, moves are being made and ground is being conquered through dedicated promotion and a tireless work ethic. Hosted by DJ Whoo Kid, It’s Not A Rumor is A-Pinks’ fifth solo mixtape.

The opener, "All On Your Own" produced by Grand Larceny is the heavyweight of It's Not a Rumor. Relentless keys with dark undertones and overbearing gun blasts set the stage as A-Pinks delivers a heavily G-Unit influenced introduction. Descriptively crafting the reality of strength and loneliness in independence and success, A-Pinks fiercely growls about doing whatever it takes to get to the top by his damn self; “One man militia wit’ a viscous hunger pain/I refuse to be another what’s his name.”

It’s Not a Rumor briefly falls short with below average filler, glimpses of gangster rhetoric and a few lackluster bars sprinkled throughout. After missed lay-ups with his unnecessary renditions of “Mind Playin Tricks On Me” and “10 Rap Commandments,” A-Pinks quickly rebounds with the well-scripted “If My Hood Could Talk” and sincere ceremony “Everybody’s a Gangsta”. It’s this kind of distinctive thinking, song making maturity and social awareness that allow A-Pinks to shine. Hopefully the masses will catch on to this versatile young talent as he gains popularity and elevates his network, proving that gossip takes a back seat to quality effort.


allhiphop.com

Obie Trice: Pour Out A Lil' Liquor [May 2006]

Things should be good for Obie Trice. The artist’s debut album, Cheers, managed to sell over 500,000 copies. He’s a part of the reigning Shady/Aftermath machine and he’s about to release his sophomore album after a three-year sabbatical. But, Obie Trice has a bullet lodged in his head from an attempt on his life in December, 2005. The artist has a lot more than sales on his mind, with the recent loss of comrade Proof still fresh. As Obie prepares Second Round’s On Me, he finds himself pouring out a little liquor.

AllHipHop.com: How was the Anger Management Tour?

Obie Trice: We went all over the U.S., it was crazy. It was real fun to have everybody on the same tour. Me and my n***a, Marshall was just getting it in working.

AllHipHop.com: Any cities that stood out?

Obie Trice: The South was real dope. Atlanta, Houston, Dallas… everywhere was dope.

AllHipHop.com: How’d you know that you were in your element?

Obie Trice: Crowd participation. You spittin’ your s**t, and the crowd is right there wit’ you, looking at you, spittin’ your s**t verbatim, word for word. It’s like scoring a touchdown, man.

AllHipHop.com: How important is stage presence?

Obie Trice: It all depends on the song. If I got a song that’s crazy, a wil’ out song, I’ma rhyme and move accordingly.

AllHipHop.com: Since the last project, how have you grown as an MC?

Obie Trice: Cheers is a classic. It’s been almost three years since my last album, which is a long time. Second Round’s On Me shows a different Obie. I’m going deeper. I’m not the same dude. I think this album is more lyrical, more spontaneous. Second Round… Shows growth as an individual. I got 18, 19 songs on my album. Most albums come with 14 songs, and that’s a complete album. You don’t want people to get drowned in the music and not listen, but I give it all to you.

AllHipHop.com: Dr. Dre versus Eminem. Who takes the title of best producer?

Obie Trice: I’m going with Marshall. That’s my homey. Dre’s the man, but Em’ is sick. He got some s**t. He gives away beats! He don’t charge Nas or Jay-Z. Dre want a $150,000 to a million [dollars]. Eminem is a motherf**king artist. He’s a talented dude and you gotta respect him. He’s never been fake.

AllHipHop.com: No doubt. The world’s been giving it up for him. At this point, what separates Shady Records from the other labels out there?

Obie Trice: Marshall let’s you be the individual that you are. He listens to my music, gives his opinion, then mixes and masters it.

AllHipHop.com: The first song that I heard off of Next Round’s On Me was “Ghetto” featuring Trey Songz and producer JR Rotem. When I heard that, I was like… “Damn!” What went into that?

Obie Trice: I felt Trey Songz’ hook, and JR is a beast. I was right at home. “I’m from the motherf**king slums where the cops don’t come/ turn the lights on and the bugs don’t run/ you aint s**t without no gun in the ghetto.” That’s not just Detroit, it’s the whole world, especially us as black people.

AllHipHop.com: I agree completely. What do you miss most about Hip-Hop from ten years ago?

Obie Trice: N***as wasn’t killin’ each other like they are today. Hip-Hop was fun when I was young. You were speaking where you came from, and n***as respected it. Nowadays man… I don’t know if the crack babies are growing up or what, but it’s crazy. I got a bullet in my head right now as we speak.

Hip-Hop was fun for me; I had fun with the music back then. That was my passion. I was born to do Hip-Hop music. It goes way beyond another hustle. You can’t just jump into the culture; it’s a relationship that needs to be appreciated. Really, really appreciated. It’s a bond, more than just rap; it’s the significant other. It’s more than just saying that I can rap. That’s where a lot of n***as got it twisted. You can’t just be rapping just to rap. As a rapper you’ve got to have an objective. And you’ve got to have somebody in your corner with a good ear to give constructive criticism, not just a bunch of yes-men. It’s just like getting drafted to the NBA or NFL, it ain’t for everybody. There are a lot of dudes in the NBA that got drafted and sat on that bench. They were a part of the team but they never played. Rapping aint for everybody. We all aren’t stars.

AllHipHop.com: Would you consider yourself a star?

Obie Trice: I consider myself as a star, and as a dude that does it for Hip-Hop. I’m not trying to get over on you motherf***ers. I love the music. I don’t do it just to shine. I do it because I love Hip-Hop culture. I try to make music that people can appreciate. I love the music and the culture, always have and always will. But I’m a star.

AllHipHop.com: As a star, and as far as your career goes, where do you see yourself in ten years?

Obie Trice: I see myself making movies. I also see myself established as one of the greatest MC’s that ever did it.

AllHipHop.com: Our prayers and condolences go out to Proof’s family and the Shady Aftermath staff. What would you have fans of Hip-Hop and members of our community take away from this unfortunate situation?

Obie Trice: Us as Black men… there’s a lot of dudes that just take your life for no reason. I think it’s some bulls**t, truthfully. Not just from what happened to Proof… I mean, I saw my n***a on a gurney. I went to the hospital when they brought his body in, cold, one eye open… it’s just senseless dog. We kill each other ‘cause, “I don’t like you. You bump me walking through the crowd, and I’ll kill you.” And I’ll kill any n***a trying to take me away from my loved ones! And it’s sad that it has to be that way, but that’s how it is. N***as will kill you and not think nothing of it. I almost died New Year’s Eve…

AllHipHop.com: I don’t know your history of violence or of being shot, but you were shot in the head and survived. What’s your outlook on life like nowadays?

Obie: Trice: It’s still surreal to me. It’s funny that I didn’t get shot a long time ago. I’m from the hood and been in a lot of bulls**t; shoot-outs, n***as shot at me… it’s just a blessing that I can talk to you right now about my situation. It ain’t no hype - getting shot ain’t cool. I’m surprised that it took this long for me, and I get shot in the dome at that? I got a bullet in my head; it cracked my skull so the doctors ain’t want to pull it out. The nurses were like; “You had three angels in the car with you that night.” And four months later, my man gets killed. He wasn’t meant for that.

AllHipHop.com: You got any advice for all the gun-happy kids and rappers with assault rifles in all their rhymes?

Obie Trice: If you murder a person, that’s a track record. If you murder someone one time, you feel like it aint s**t. Keep laying n***as down, you gotta answer to the Man upstairs in the end. The niggas that shot me, all of that s**t comes back around. I’ll give it to this summer, they gon’ be talking, n***as want to express themselves. I don’t care who the f**k you is. If it was a real killing type of n***a, he would have killed me. The person that shot me was just a hatin’ ass n***a. I don’t owe anybody s**t. I ain’t took no work from nobody. I might have f**ked somebody’s b*tch. If that’s why you want to kill a n***a, then you’se a fag. I aint never snitched on nobody and I gets it in Detroit. I f**k with trife life. I f**k with real people. It’s just a sad situation.

Detroit is a small working-class city. Word gets around. It’s so small, certain niggas talk like bitches sometimes, even though Detroit is made up of real motherf***ers. I love my city and that’s why I can’t move. All we got is downtown where everybody pulls up at the same spot; all the killers, hustlers, everybody. It’s not like New York City; it’s only a few spots.

AllHipHop.com: What’s the economy like in Detroit right now?

Obie Trice: We’re $130 million dollars in debt. If we don’t have the money by June, the state is taking over. That’s called receivership. That’s crazy, laws is going to change… the s**t is crazy. N***as is broke for real. So when they see Obie Trice, Eminem or D12, they like “f**k y’all n***as!” And all we doing is chilling and embracing you. We from “the D,” so we trying to indulge in the things we’ve always been doing. It ain’t like you going to see Nas or Jay-Z walk past, it’s no stars like that. But, if you don’t like me, who gives a f**k? N***as die over that. That’s when it gets real hectic.

Music Review - DevelopMental1 [April 2006]

Artist: Various Artists
Title: Develop[Mental]1
Rating: ***1/2

Just because you play the role, it don’t mean you get the part. Mixtape newbies and comfortable vets take heed, Norcal DJ Icewater is exceptional at mixing posse cuts. The shouting echo of mixtape DJ’s was tired the day the trend began. Smooth blends and precise cuts make for easy listening. NatAural High Records give their artists a bona-fide chance to shine on the Develop[Mental]1 (NatAural High) compilation. The balancing of tables in the rap game has made the masses open-minded for an appropriate change in sonic logic. In other words, the Bay has something significant to offer: a vacation from bullet-riddled, doped up, club soundtracks.

Take a breath of fresh air and peep the choice sounds of NH’s flagship act. Holding strong in 3rd place on this compilation, Lunar Heights welcomes listeners with witty punch lines and playful skill from a backpacker’s notebook on “Da Music,” produced by DJ Vinroc. LH’s potential opportunities as underground emcees goes unscathed even with thumbs down for doing too much on “Shake” and failing to omit the lazy chorus.

Spank Pops has star personality. With his easy-going demeanor, eclectic hooks and straight out the Yay energy, you can feel the funk in the air, on your collar and under your shoes. “Like Me Now” is an official low-key club joint. Pops gets the ladies and gents involved while Jem Eye tosses a dime with light keys and a mellow bass. “Populate” is that s**t for the trunk, windows down, car parked, dancing on the hood, “From the Golden Gate, this is everyday.” A versatile-chopped up two bar flow and introspective mind surprises listeners on “Small World,” produced by and featuring Trackademicks. With a serious flow and pastoral approach, Spank Pops goes in, “Every rapper got a drink coming out/Trying to turn our kids into drinkers/What we need is some thinkers/ better schools and more teachers.”

The standout appeal on Develop[Mental]1 comes from Texas wordsmith Bavu Blakes. Rap pioneer, the D.O.C., deems Bavu as “one of Texas’ brightest new stars,” that sounds nothing like any rapper from Texas on your radio today. With classic material like “Play The Role,” produced by Symbolyc One, fans will undoubtedly look to this confident MC with jazzy vocals for future songs. Bavu gets at the pseudo-thug, wannabee starMC, white Rasta and permed out sistah on this cut. Dropping gems with an in-depth view of each particular circumstance, Bavu disassembles the loudmouth gangsta, “Are they punks trying to cover it up perhaps/So shrunk they can’t penetrate the naps/Now you know some kind of insecurities can be traced cuz folks be popping off at the mouth to save face.”

A solid compilation and meaningful contribution with minimal duds, Develop[Mental]1 manages to showcase star product and thoughtful commentary.


allhiphop.com

Music Review - Bang For The Buck [April 2006]

Artist: Ugly Duckling
Title: Bang For The Buck
Rating: **1/2

Relentlessly determined and optimistic, ugly ducklings are the ones that no one wants: the hideously unloved and underappreciated. As the tale goes, the ill regarded fowl eventually transforms into the beautiful swan, adored by all. This isn't the case for the Long Beach rap trio Ugly Duckling amidst the valiant effort they put forth on their latest full length Bang for the Buck (Fat Beats).

Diving in you feel instant Juice era, late eighties, early nineties rap music. Production sizzles and skates forward as the up-tempo opener and title track infuses bells with a hype snare and focused bass. The fingers behind the boards, Young Einstein, get busy on the majority of Ugly Duckling’s tracks employing everything from horns, high-hats and fancy key work to get the job done. The nostalgic experience and steady groove put you in a goofy party-boy mode, but the songs are still dressed to party by an average old-school tailor.

Andy and Dizzy know how to have fun with Hip-Hop. Life is definitely about not taking yourself too seriously and this pair of confident lyricists flash a friendly smile at the mic and let go a mockingly pathetic laugh at the entire industry. But their independence and unique sound is hard to grasp and even harder to listen to. Yeah, they got an old-school flavor but it’s the type of ingredient that makes jerk chicken inedible and gets a gin and tonic sent back for having 90% tonic. These guys definitely have a cool love for the music that sets the stage for a positive bond with the listener, but only if you're a wannabe skater and hippie backpacker. Lame hooks straight up ruin songs like “Yudee!,” “Smack,” and “Lower The Boom.” “Shoot Your Shot” says it all and fails to body anything, “There’s no competition, so I don't listen/ you think you're dope here’s a penny, go wishing.”

The rap scene today is in dire need of balance. Between the overbearing corporate shuffling of murderers, drug dealers and Trump imitations, California’s revolution is gearing up for round three in the rap game [NWA, Death Row would be one and two]. It feels like a breath of fresh air is on the horizon, unfortunately Young Einstein, Dizzy and Andy aren't sonically prepared to factor into that equation.


allhiphop.com

Music Review - All Aboard [March 2006]

Artist: Code Red
Title: All Aboard
Rating: ***

The members of Code Red all have tall tales and personal demons, each focusing a unique talent to make a healthy contribution to All Aboard (Madacy). The refreshing challenge is that they don’t sound like any other act on the scene which will make them hard to accept, and difficult for competition to outpace. Purchase a ticket and grab a window seat.

Watz lays the instrumental groundwork for All Aboard. An average beat-smith with C+ production makes it difficult to get excited about the trip ahead. Catering to the specifications of each artist can make it difficult to formulate a standout sound. The Jamaican Reggae artist JR. Dread adds the island vibe, pseudo Dylan of Da Band. Like his contemporary, he adds a different flavor to the mix that does not help to make the ride any more enjoyable. The lyricists of the group balance tracks sabotaged by corny catch phrases and metaphors, with superior wordplay, heartfelt content and enthusiasm. El One is a close second to Manfred’s confident consistency.

“Give me a Reason” is an amazing effort that captures the relevant and often forgotten topic about war through the first hand experience of a soldier: “They send him overseas to fight for their democracy but all he thinks about is that daughter he never got to see/And all he wanted was money for college, now he’s fighting wars for a government hungry for dollars.” Preach! “Long Time Coming” and “Brother Louis,” a song about interracial dating complete with visual detail and abashed racism come off brilliant. Watz delivers, valiantly assisted by Todd Smith on soulful strings and impressive key work.

After “Atomic,” “Pimp it out” and “The Sky is Falling”, passengers will signal the drive to let them off. “She’s a chicken, there a chicken one mi ‘fraid a pluck pluck/ Here a cluck, there a cluck, everywhere a cluck cluck.” It gets no wacker. An executive producer, with an honest opinion and Ginsu blade to cut the fat, was left out of All Aboard. However, the group’s versatility, unique chemistry and talent prove for a positive sound with potential.


allhiphop.com

Scarface & The Product: Training Day [February 2006]

Contrary to popular belief and media advertisement, many individuals aren’t the least bit happy with the way the world of Hip-Hop music has played out in the 21st century. Whether shady business deals or watered down, carbon copy songs are the illness, hopeful rap heads are fortunate to have hungry artists in the booth working to cook up a remedy.

Three of those individuals are in The Product. Led by who many would claim, is the undisputed "King of the South" – Scarface, the trio has a legend at the core. Then, the troupe is given some flavor from Bay Area veteran, Will Hen. Lastly, the youthful charge comes from Mississippi bred, Young Malice. This trio linked up with veteran producer Tone Capone to thread the needle, that’s likely to be jabbed in the industry’s veins.

Young Malice remains relatively quiet as Scarface and Will Hen reveal their plan to AllHipHop.com. ‘Face’s Underground Railroad Records may not be what Harriet Tubman had in mind, but the liberation of Black Music, as the Houston icon describes it, will begin this Black History Month. One Hunnid Percent independent.

AllHipHop.com: What’s up with the Underground Railroad movement?

Scarface: I’m just trying to free the slaves.

AllHipHop.com: Are you talking about underground artists?

Scarface: These big corporate slave-driving motherf**kers… I’ve gotten so many slave offers in the past five months from these major labels; they still aint trying to give a n***a a fair f**king run. I mean, they want that and want this, but ain’t trying to give a n***a shit. I’ve got to own my s**t.

AllHipHop.com: So you’re just going to continue putting your life on wax…

Scarface: I’m an artist, man. I’ll always have ideas. 20 years down the line, if somebody wants to use one of my songs, and the person who owns the publishing and masters of it is getting paid, that ain’t right. I did all the work. I think every artist in the music industry should boycott that s**t, and demand some of the ownership back. We’re in a position to start owning our music.

AllHipHop.com: The industry doesn’t get a chance to really feast on Bay Area music. I know it’s a land of independent hustle; can you fill us in?

Will Hen: It’s moving. The Bay is doing things themselves. We’ll let the industry catch on later. Back in the day when Bay area artists were selling 100,000 plus records themselves, Atlantic, Priority and everybody else came out here trying to get a piece; ‘We’ll take 20 and you can keep 80.’ They were giving out real deals back then, beyond joint ventures. It’s getting back there. It’s a buzzing music scene. Everyone’s doing something different: street s**t, crunk, spittin’ game and stepping up their craft.

AllHipHop.com: I know you released an album in 2002, Filmoism. But for fans who may be discovering you by way of ‘Face, can you give us some background on yourself, as far as taking the pimp game and transcending into rapping?

Will Hen: I’m a real Fillmore n***a. I’m from San Francisco, California. The pimp game to me is like the crack game, an alternative, nothing out of the ordinary. I’ve done anything anyone in the street had to do to survive. Anyone with any sense is going to elevate his or herself. A smart n***a’s not going to work hard, but work smart. We all can probably be gangster; grab a gun and hustle rocks, but the key is to find an easier way to get to the top.

AllHipHop.com: Everybody wants to pimp in rap today. What are your thoughts?

Will Hen: I don’t like it. I feel like, when I went outside and put my hard shoes on and played the part, it was real. I had to really study the game and deal with the ups and downs and everything that came with it. It ain’t all sweet out here in the city. I gotta ride like I’m supposed to and be holding what I’m supposed to… even though I was in the Mack game. You gotta stay gangsta on these n***as and pimpish on these hoes. A sucker or a n***a on that bulls**t is gone see a whole ‘nother side.

AllHipHop.com: People may remember Tone Capone for doing, “I Got 5 On It” ten years ago. As a producer for The Product, what element does Tone Capone bring to your music?

Will Hen: He’s very influential. When a producer and MC have good chemistry, the possibilities are endless. The first time we met, we cranked out a joint. He’s an experienced professional. Tone and ‘Face both have that ear for music… they [both] old school heads for real, digging in the crates. That impressed me. Tone played a joint we did for ‘Face, and he felt like it was time for me to get down.

AllHipHop.com: What went into the process of making One Hunnid?

Scarface: We just sat down and said, ‘Let’s try and make our s**t rock harder than anything else out there.’ I’m a fan of the game. I love music. I feel like the game needs every song we’ve made, ‘cause right now, we f***d. When you got n***as that don’t appreciate it, and just want to get a payday out of it, then we f***d.

AllHipHop.com: The South is dominant in the rap game today. How do you set yourself apart from the other acts?

Young Malice: I feel like what we’re saying has a bit more relevance.

Will Hen: That n***a’s dope man. He dope for real. He’s finna change what everybody think about a Mississippi n***a.

AllHipHop.com: What was it like working with Scarface?

Young Malice: It was a family environment. It was us doing what we had to do to get to where we wanted to be. When you’re working with professionals, it’s easier. I’ve been in the studio with cats that didn’t know what the f**k they were doing. Next thing you know, you’ve been in the studio for hours without a completed project. It takes no time for us to put a classic song together when we’re in the studio. That’s what made it so good working with Brad and Hen.

AllHipHop.com: As a spotlighted new artist, what do you want fans to take from the upcoming album One Hunnid?

Young Malice: I want you to gain our experience from the album. We’re voicing our lives and current events. Take knowledge from the album. Don’t try to be like one of us. Listen to the positive and negative parts, learn from the negative and try to take the positive with you to better yourself.

Scarface: When you listening to it, just think in your head: ‘This is what we need, what the world’s been missing.’

B.G.: Hero [January 2006]

Call him O.G., legend, thug or entrepreneur. Call him recovering junkie, traitor, married to street life. How about survivor? This is a man whose world was completely turned upside down by one of the biggest societal tragedies and natural disasters in the history of the United States of America. We now have something to add to the list of hardships and hurdles encountered along the road of life walked by Christopher Dorsey.

Could you fill his shoes, dealing with lost family members at an early age? Could you, not only survive the harsh ghetto reality of New Orleans' wards, let alone make a name for yourself akin to 'Heart of the Streets?' Do you have the talent, energy and drive to drop 15 albums by the age of 25, help to build from the ground up a multi-million dollar empire then, despite your loyalty but in light of your honor, walk away? And as your independent arms reach out and you begin to grasp for new ground and reclaim your name, carving a place for your new company, could you lose your heart, your home and your way of life? I don't mean to pull your G-card but… I truly doubt it.

Amazingly, of all things B.G. is positive and realistic, hurt by various sources but not emotional, and definitely optimistic for the future. It's grind time baby! Let the 504 native show you how it's done, the right way. Call him what you will but know this: many will forever call him hero.



HHG: B.G. what's the deal man?

Everything's good on my end, just chilling like a real nigga's supposed to you know?

HHG: I hear you homey. For all the fools that don't know, fill us in on who you are and why you are a legend?

My rap sheet speaks for itself. C'mon man, you wouldn't think I was one with all the work I've put in, credibility I got in the game, and the ups and downs I've had to overcome?

HHG: Definitely. In this New Year, what are some of the personal goals you have for 2006?

My personal goal for 2006… is to stay out of jail. That's the main one, cuz if I'm in jail I can't get no money. And if I can't get no money then fuck… you heard me? My goals are just to turn Chopper City into what I helped turn Cash Money into and just do me and make a way for my niggas and help rebuild my city. My plans, goals and dreams get bigger everyday.

HHG: How's your family doing?

They're good, everything's good.

HHG: Our prayers consistently go out to the victims of Hurricane Katrina. We know the government didn't act accordingly and appropriately with preventing and assisting in the situation.
From your standpoint, can you give us an update on what's being done in the rebuilding process of New Orleans?

They're rebuilding the rich part of town. The hood still looks the same way it looked the day after the hurricane hit. Fuck, it is what it is. I get disgusted when I speak on it.

HHG: Is there a way for the readers to contribute to helping the situation?

Yeah, Yeah it is. There's a million and one ways. I'm trying to put something together where the proceeds go straight to the hood. When I do something it gotta be right, it gotta be big I can't half-step with it. It's all I know.

HHG: The Heart of the Streets Volume 2, I Am What I Am to be released early 2006. What's going on with that?

Man, that's the continuation of Volume 1. I'm giving the streets what they want and expect from me. The "Heart of the streets" title, people come up to me and say 'I know what that means.' People embrace me with that and tell me I got the right to call myself that. Anybody who has 10 of my previous albums, or any Hot Boys albums, they already know how I'm coming, aint nothing changed.

HHG: So you have 15 albums and how old are you?

I'm 25.

HHG: You're a bona fide legend on the strength of that. I also wanted to ask what's going on with Chopper City Records?

Chopper City Records is good. I'm in a nice position right now, a very good position and I've been doing my independent thing now for the past 2-3 years and I've been building, grinding and stackin'. I've been climbing the stairs and now I'm on the porch and I got the keys to like five doors and all of 'em are six-figure doors. Really I'm content right now and I haven't decided what door I'ma go in and I'm playing it how I wanna play it. At the end of the day I'ma make the right decision of what's best for me and my label as a whole, so I'm not in a rush. I'm situated so they gotta dance to my music.

HHG: What does an individual have to be prepared for when getting their independent hustle on as opposed to signing with a major?

He gotta be ready to grind, be ready to work. Really and truly to me, independence is the key. I've been on top. I been there. So I know what it's like. Both worlds are cool, but the independent goal is to set yourself up for the majors and make 'em dance to your music. I made my mark in the game with Cash Money and made the whole world respect my music, respect what I do and respect me as B.G. When you do the independent thing, people respect you even more.

HHG: Do you consider yourself a pioneer in the game of rap?

If people wanna say that then I aint gonna correct 'em. I aint the type a nigga to be big-headed, I just do what I do. When Scarface took his hat off to me, it couldn't get no better than that. Scarface, Bun B, I consider them pioneers. I come behind them. I been in the game just as long, but I never looked at it like that. When people like that have as much respect for me as they do, then I'm cool wit' it.

HHG: Cash Money Records will always be in the background of your career because it's an empire that you helped build from the block to the billboard. How do you feel about that?

Really and truly, I would have never thought in a million years it would have ended up like that. We were the most family oriented, but that just let me know how powerful money is for real. Money fucked Baby up, and I'm more hurt than anything. I was 12 years old when my daddy got killed and that nigga took me under his wing and raised me. I was loyal. I got his name tattooed on me, my name tatted on him, I christened his son and he christened mine. But it is what it is, I gotta deal with it.

HHG: Are you still cool with Mannie Fresh and Juvenile?

Oh yeah, cuz, they aint got my money. They got them too.

HHG: Do you have plans on making any more music with them?

Oh yeah, Mannie Fresh produced my 1st single off of Heart of the Streets Volume 2., called 'Move Around.'

HHG: That's what's up, we're looking forward to that. Now at some point was there supposed to be reconciliation with Cash Money? Were you planning on doing a Hot Boys album?

I wouldn't mind. I'd love to do it as long as Baby ain't have no parts of it.

HHG: I think everybody in the world has heard 'Triggaman' by now and it's self-explanatory. I need to hear it from you, what was the motivation behind you making that song?

Last year, it was 'I Miss My Dogs' and when I first heard that song, that motherfucker brought tears to my eyes, cuz shawty came from the heart wit' that one. I was surprised it made his album because of how real and true it was, especially with what we were going through. But a couple of months ago, I picked up a magazine and he was on the cover. I'm reading the article and they're asking him about the Hot Boys and he made a statement in the magazine like 'Fuck everybody who left Cash Money I don't respect none of 'em.' I was like whoa, cuz that's a strong statement. I'm one of the ones who left. So you saying fuck me? Really and truly, fuck me, fuck you back. You basically said fuck everybody who left, fuck all of us. I don't know how they gonna take it but me being the type of nigga I am, no- uh uh.

We done had concerts together, I went on stage with him, he came on stage with me. Me and shawty had a cool relationship until I read that article.

HHG: You were always like the older brother.

Exactly. Man, that was my lil'… he wanted to be like… basically, no disrespect but… Baby raised me and I raised him. It is what it is.

HHG: Young Black Entrepreneurs is one of my favorite songs. Is there a message that you and Mobb Deep were trying to send when you made that track?

HHG: Really, Prodigy reached out and we was in New York, he was like 'I got this song that I want B.G. to get on.' I was like, 'damn Mobb Deep wan' fuck wit' me? C'mon let's go.' So once we got in the studio, we connected and vibed and was kickin' it, he already had the concept down, and once I heard it I did what I do on it…

HHG: Killed it.

That motherfucker was hot.

HHG: Got plans on working with Mobb Deep anytime soon?

Most definitely.

HHG: Are the rumors true of you forming an alliance and becoming apart of the G-Unit fold?

We talk. You know, it's most definitely an option. If everything works out and we can get the paper work right, you know I aint trippin'. If he reaches out, makes the situation right and let's me do me. It aint no secret as to what I'm doing. I'd love to link with them. Buck's my dog, if it happen or doesn't happen that's gonna be my nigga for life.

HHG: Is Young Buck on the new album?

We got a lotta tracks together but I'm not going to use 'em on this upcoming album, they'll be on the next album. My next three albums are lined up already.

HHG: You been in the studio grindin'?

I'm telling you… after this Heart of the Streets Vol.2, then I'ma drop The Comeback Kid, then after that I got a real good feeling that all the hard times and struggling will be over so after that, I might name it Let the Good Times Roll. I got it all mapped out.

HHG: You always had a real strong swagger about you, and your flow is type bluesy. What would you attribute that to?

At the end of the day I'm just B.G. It just come out, it's all real with me. I do it the only way I know how and the voice speaks for itself. Some niggas, you hear 'em on a record, then you hear 'em in person and it's two different people. Anytime you hear me, it's the same. Cuz I'ma be my fucking self.

HHG: Would you consider yourself someone who freestyles, a battle rapper or someone who makes songs?

I can do all that, I can freestyle, I can smash a nigga if I want to and I can do songs. People be using the terms crossover and mainstream, I don't believe in none of that. I just be myself and make the game crossover to me. Whatever song I did that hit the other side, I aint do it for them, I did it cuz that's what I was feeling. I just do me, you either respect it or check it.

HHG: What are some of the necessities that you gotta have with you when in the recording studio?

A pack of Newports and my closest niggas and the vibe. I go in there and let the track talk to me.

What's the mood like in the studio when you're making a hit song?

HHG: It's something about that beat. It all starts with the beat, the drum pad. Once you got that down, then the bassline. You can make anything a hit, you just gotta ride that motherfucker right. Anybody can get on a song and rap, but you gotta ride that bitch a certain way.

HHG: Are there any new artists that you're riding to right now?

I listen to a little bit of everything. Right now in my changer I got Lil' Kim, one of the hottest albums out this year to me, Young Jeezy, believe it or not Lil' Wayne, Get Rich or Die Tryin' soundtrack, Juelz Santana, that Urban Legend, my shit and that Bun B.

HHG: What about producers?

Really and truly, you know how you got the $50,000, $100,000 producers? I respect 'em and get beats from 'em, fucks wit' 'em, but they got some hungry niggas in the basement that's just as hot as them niggas. I be tryin' to give them a shot. I got a lot of different producers on the album, Mannie Fresh, Paul Wall, but I worked with some producers you aint ever heard of and you gonna hear the track and be like 'damn who that?' If I didn't put any credits on the album you wouldn't know who was who.

I might hear a beat going for twenty stacks, then hear a beat that hit harder than that going for two stacks. I'ma give two-stack homey a shot and maybe in a minute, he'll be getting' his twenty.

HHG: Is there anything other than rap that you listen to?

I got Jamie Foxx in my CD changer, Mary J. Blige; I'm a R. Kelly fan. I get jazzy when it's time to get jazzy.

HHG: With Volume 2, what can fans expect from the new album?

They can expect B.G. to be B.G. I got a little older and wiser; I'm picking up where I left off on the last album, which was supposed to be a double album. I decided to break it down and bless the streets twice with this one. I'ma make a statement with this one. That heart of the streets shit means a lot to me. Once I'm certified with this one, I'ma go into the next stage of my life. I'm just sticking to my roots. If I get outside of myself and go start living like a star and letting money get to me then I'm not going to be grounded. I keep myself grounded. I can't see it any other way. A lot of niggas in the game can't handle the fame and the money. I see niggas who wasn't shit a few years ago, and now they don't want motherfuckers even touching 'em. They be on some hoe shit and I don't respect that.


hiphopgame.com

Needlz: Cue Burn [December 2005]

"A new producer's on the rise? and you don't want a problem with this guy." No, really. The only thing slightly problematic nowadays is the overbearing corporate machine in the world of Hip-Hop music. One guy's story combats this errie tradition.

Needlz has a new sound and an old soul to break his own brand of Funk down. The Michigan native and former Bad Boy intern has supplied heat for gangstas like 50 Cent and Young Buck while also juicing Talib Kweli's latest banger, "Drugs Basketball & Rap". Needlz brings a humble demeanor and focused work ethic to the game. The New Musician is here with AllHipHop.com to give a tutorial to young producers and bring Hip-Hop's sound back to its essence.

AllHipHop.com: A lot of the veteran producers are criticizing your generation as "beat-makers", not "producers." To you, what is the difference between a producer and a beat-maker, and where do you fit?

Needlz: Well, a producer is more hands-on in the studio, guiding the artist through the song-making process, while a beat-maker submits beats or instrumentals and waits on a phone call. I'm a combination of both; sometimes I submit beats while other times I work with cats and I'd love to be able to do more of the hands on producer work?

AllHipHop.com: You get a better vibe in the studio when the producer is working with the artist?

Needlz: It would be, but that hasn't been the case. With the exception of established cats getting a lot of work like Dre and the Neptunes, who can take time to work with the artists, most cats on the come-up, like in my situation, have to balance between both. And nowadays with Protools and things like that, people can just make the track on their own.

AllHipHop.com: In your opinion, do you think there's a difference in the skill level between producers sampling as opposed to playing instruments?

Needlz: Skill level, nah. I don't know how to play any instruments, but I know how to put stuff together. I've been around musicians who can kill it on a keyboard, but when they try to make a beat, it's trash. Of course I want to learn how to play the keys, it would help overall, but if you have the gift to make people's head move, then you're good. The skills of knowing how to play an instrument are equal to that of making a beat.

AllHipHop.com: 2005 has been a big year for you. For all those new to Needlz, can you give readers a summary of your entrance into the industry?

Needlz: I started out as an intern at Bad Boy. While I was going to grad-school at NYU, some dudes were shopping my tracks on the low and it ended up on the desk of an A&R at Def Jam who worked with DMX, Redman and Method Man. She happened to be an NYU alum, liked my work, we met up, and hit it off. She's responsible for 95% of my music getting out there, from work with Ruff Ryders to BET. It also led to me working with G-Unit, Young Buck's " Let Me In" and 50 Cent's "Piggy Bank" and "God Gave Me Style."

AllHipHop.com: Yeah that "God Gave Me Style" joint is one of my favorites, the other side of 50?

Needlz: Yeah, I wish that would have really come out.

AllHipHop.com: Can you go into detail about your experience as an intern at Bad Boy and the value if any you got from it?

Needlz: It was valuable because while I was in school interning, my major was music business. I wanted to be an A&R and work on the business side of the music industry. When I started interning at Bad Boy, I found out that I didn't want to work for anyone. I'm a cat with a degree getting coffee and french-fries for dudes, and that was wack. But at the same time, I was steady grinding and making beats.

AllHipHop.com: You've recently produced a really big controversial track on one of the best selling albums in 2005. What was it like working with 50 cent and G-Unit?

Needlz: I haven't had any problems at all. It's a situation where they picked unknown beats off of a CD, which is cool because it shows that my stuff stands out.

AllHipHop.com: With them being the big dogs in the game, it's a huge compliment to you that they would choose your music as the soundtrack to their story.

Needlz: Definitely. It's been a good look working with them, I can't complain. They kind of put me on the map.

AllHipHop.com: How do you feel about beef on wax in rap music?

Needlz: It is what it is. I'm a laid back person, I don't really get into any of that. It's just another part of Hip-Hop.

AllHipHop.com: Right, been around since the beginning. What are your feelings on the state of Hip-Hop music today?

Needlz: I find myself not really listening to that much rap anymore. No one's really doing anything different. It's pretty much the same song. If I buy a CD, I'm checking for the other producers because I know what the rappers are going to say.

AllHipHop.com: Producers are coming up in a real way.

Needlz: That's the reason. The majority of rappers are talking about pushing drugs, "I got this much money, I f**k this many girls." That's basically what it is and to me there's more to life than that, more to Hip-Hop than that. It's cool if folks talk about that, just do it in a different way. I aint trying to sound like the mad producer though?

AllHipHop.com: I'm sure there are good amounts of people that share the same sentiments. What does Needlz bring to the table?

Needlz: On the low, I'm getting ready to introduce artists that aren't on the same tip, bringing something different to the table. New York's been rocking with the same cats for so long, we really need something fresh.

AllHipHop.com: How would you describe your sound?

Needlz: It's like an oxymoron: clean and dirty at the same time. I'm really picky with the sounds I choose, from the high-hat to the snare. As I start to make a beat, I try to stay away from what sounds regular. That's how I've developed.

AllHipHop.com: Interesting. Are you a family man?

Needlz: If I could, I would be at home chillin' with my fiancé and daughter. I'm not too big on clubs or parties, I rather be at home making beats and chillin'. At the end of the day, I gotta put food on the table and bring money in.

AllHipHop.com: You've got your priorities together. Does having a family impact or influence your music?

Needlz: When my daughter was born, my career took off. It was a blessing. My girl isn't really into it as much, and that provides the balance.

AllHipHop.com: What was the Hip-Hop scene like growing up in Michigan?

Needlz: Hot! We listened to everything, East Coast, West Coast, Booty music and House. We really respected it and I was a big East Coast fan. DJ'ing in high school, and having the new music first was a cool experience. To have the Nas album, [Raekwon's] Purple Tape?

AllHipHop.com: Do you still get the DJ itch from time to time?

Needlz: Yeah no doubt! I haven't bought records in a minute. I spin MP3s. I'm really looking for a spot where I can spin early 90's Hip-Hop records.

AllHipHop.com: Which MC's and or producers inspired you coming up, and why?

Needlz: The RZA is definitely underrated; he's one of the illest! He created the whole Wu sound and movement. Back then producers didn't have as much shine and he never got the recognition he deserved. Man, cats like Just Blaze, Premier, Dilla, Nottz, Havoc. I'm a fan and I listen to all of these cats. When I first started, I used to sit down and study Premier. He brought a lot to the game.

AllHipHop.com: DJ Premier is certainly a pioneer and veteran in Rap music. How did "Drugs Basketball & Rap" come about?

Needlz: 88 keys brought me down to the studio and put me onto Talib Kweli. I gave him a beat CD and got called back. I really like that beat, and a lot of artists passed up on it. A lot of beats people pick aren't my best beats, but at the end of the day it's not about me, it's what they like. It was something that happened real quick and I'm glad he picked that beat cuz the track came out cool.

AllHipHop.com: Anymore Kweli or G-Unit collabos in the future?

Needlz: Yeah I talked to Talib last week, and he picked out some joints. I got a joint with Lloyd Banks featuring Prodigy.

AllHipHop.com: So are you officially in the G-Unit system?

Needlz: I guess you can say that, but I'm not signed to them. I got a lot of love for them cats. Props to Sha Money and D Prosper!

AllHipHop.com: That's a good look. Who else are you working with at the moment?

Needlz: Corey Gunz, Rich Boyz, and Sharifa. I'm really hoping people embrace Lupe Fiasco; he's one of the dopest MC's out there. I'm trying to put together this super-group from New Jersey. Its kind of hard bringing three different solo artists into one group, but it's something I've always wanted to do. There are not a lot of hot groups out there and I think it's ill when artists bring different energy and a unique voice to the booth. It's like having three different songs on one track.

AllHipHop.com:You're rumored to have a band in the works? Is it Rock?

Needlz: It's not really a Rock band. It's an R&B singer and myself and we're doing some next level, soulful R&B s**t. The Gutta Fam is the name of the [New Jersey] conglomerate. It's an old school vibe with some Hip-Hop flavor.

AllHipHop.com: Definitely keep us posted. You got a lot of new music that we're going to be checking for. That's what's up. Scanning the history of Hip-Hop, what artist would you most like to work with, dead or alive and why?

Needlz: I don't really deal with a lot of what if's. I mean, if Biggie and Pac were alive today, things would be a lot different. A lot of artists might not be as hot. I might not even be here. My favorite rapper has always been Nas. I'm a big Nas fan.

AllHipHop.com: What do you think about the new alliance between Nas and Jay?

Needlz: I think it's dope. That's the best s**t to happen this year. I heard that they might do an album and I hope it happens. The South is really bubbling right now and I love it, but there needs to be some balance. We need some more East coast influence in the game. It's weird listening to the radio in New York nowadays. I don't know where I am sometimes. I love that s**t, got no problems, I've done stuff for Ludacris and a lot of other Southern cats. I just think the game needs some more balance.