British hip hop is in desperate need of a homegrown iconic emcee. The hip hop culture in the UK is in a constant battle against stereotypes and disinterest. The big acts out of the urban music scene in London are for the most part Grime and Electro emcees, not so much traditional rappers. To boot, cats like Dizzee Rascal and Kano are felt in the proverbial hoods of East London, and thus, British hip hop producers and lyricists find themselves dumb and mute.
Enter atypical rapper come-up story here.
Lowkey is the type of act you will be tempted to label as a gimmick, the old flash in the pan per say. And you would be half-correct in making such an assumption, I mean, how many English-speaking rappers have Iraqi blood and a following in a first world country? Not to mention the fact that Lowkey can actually flow, and unlike a plethora of other British artists, you can actually comprehend the English words that come out of his mouth. Unfortunately for some, devastating for a few, Lowkey is very much a politicized rapper, hence the title of his new track “Long Live Palestine Pt. 2″. He has made a name for himself in the Euro hip hop scene because of the nature of education in Europe in regards to global issues, especially the topic of the U.S. and British presence in the Middle East. I mentioned that the political dogma of Lowkey has an unfortunate side to it, specifically, the political apathy of hip hop heads. Having toured across Europe with the likes of Dead Prez and Immortal Technique, Lowkey is aware of the audience out there into his personal political objections, and so is the rest of the hip hop world. They call those cats backpackers, so-called conscious, college-rap kiddies.
Scope the new track by Lowkey, just be mindful that proceeds go to a Palestinian “charity”, and in that part of the world, that could go towards anything from a sack of grains to a rocket-propelled-grenade.
Sure it’s still early on in the nascent year, and yeah, another “spitter” could potentially arise and earn the lime light, but I really hope this pans out to be Curren$y’s 3-6-5. His nasally delivery and witty punchlines are some of the illest floating around the blogosphere lately, especially since he and Jay Electronica have become besties. And, I think I’m rooting for the guy because he’s been pinballed around so many labels. He also comes off as a dork in interviews, yet still viciously shreds the beats–and I dig the lion-in-sheepskin dynamic . Here’s his latest “Smash On O’Leary.”
A quarter century after its founding, UFC has finally hired an African-American octagon girl. The lovely race barrier cracking lady’s name is Chandella “Della” Powell. According to her online UFC profile Chandella likes sushi, polite men, Lady Gaga and Rascal Flatts. Yeah, that’s pretty gross, sans the raw fish. But if you take a gander at her Model Mayhem page, you’ll see that she’s also quite, ah, ahem, urrr, liberal? Translation. For naked Della pics, go peep her Model Mayhem page.
I don’t feel bad feeding the sin machine, let us remember, this is UFC we’re talking about, not a political intern in the White House. What does make me sick is that Media Takeout, the self-proclaimed “Blackest Site On Earth” (which they changed to “Most Visited Urban Site On Earth” once they peeped how many of their hits originated from caucasian-owned desktops) is commemorating this historical moment in social progress by posting the naked pics as the front story. There’s a vast array of slamming Chandella pics on her sites to pick from, but no, leave it to the most “urban” site on earth to show you a trick’s snatch quicker than a rat gets fucked.
Social chivalry is dead. I mean, if a girl who prances around half-naked during championship fights can’t make history without her panties flying in the wind, what are we serfs going to do?
Regardless of what other video content comes out this week, this video is deemed most noteworthy, for the legend and prophecy are present. Rakim in a contemporary music video? Hells Yeah! Plus, I’m becoming fonder and fonder of Maino, and Needlz is a producer to watch out for in 2010, this is his Just Blaze type year. This video is likely to get taken off YouTube, so I’ll be sure to keep an eye out and keep refreshing the link.
I think I’m going to watch this clip from The Protector every Monday morning to motivate me against the ills of the world. Late pass I know, but a friend put me on to Tony Jaa movies the other night. My favorite element of the fights in Tony Jaa flicks, is the fact that not only does Jaa repel and subdue his opponents, he also cracks at least one limb on about 70% of them.
I remember hearing Matisyahu on the radio one summer I spent in Pittsburgh almost a decade ago. If I’m not mistaken, Howard Stern was mocking the notion of Hasidic reggae, frankly, I remember empathizing with the ridicule. However, I also recall recognizing the mainstream potential for Matisyahu, and no, that’s not a reference to the fact that Jews run the entertainment industry. (Because they don’t.) I was simply aware that people nut their pants when their expectations are completely blown out of the water. And yes, a Hasidic Jew who sounds like a regular reggae act out of stoner nation, qualifies for mainstream shock value. Now he’s cut this track with Akon, and I have to shamefully admit, it took such a union for the Reggae Jew to hit my radar once again. The track is overwhelmingly consumable, and you don’t have to be a Jew or a patsy either, it’s a legitimately pleasant track to listen to, real talk. (Hey Stan, can I get my endorsement check now? Thanks!)
On account of media bias, dumb misfortune, and prejudice, you may not have heard of a reggae artist called Sizzla. Through great fortune and our contact at VP Records, we are ecstatic to present an interview that we conducted with the reggae legend. It would be a dishonest act to sum up Sizzla’s cultural, spiritual, and musical impact on our times in a mere paragraph. We encourage you to get your Google on, look into Sizzla, and catch up. Here in this article, you will find a plethora of goodies, including some great photos taken on-site in Jamaica and an in-depth conversation with Sizzla, both audio and transcript. You may not agree with all of his “political” and “social” positions, but we encourage you to listen and reflect. Jah! Rastafari!
Sizzla Interview Part 1 – Guidance as a duty, Life in Babylon
Sizzla Interview Part 2 – Effects of being banned due to anti-gay lyrics
Sizzla Interview Part 3 – Keeping a balance between life and career, Judgement Yard, Poverty
Sizzla Interview Part 4 – Advice for artists getting started in the business, Crucial Times Album
ZIF: Anyone listening to your music cannot miss the interconnectedness of your message with the Rastafari religion. Why did you choose to become a part of Bobo Shanti Rastafarianism?
Sizzla: Because it is the teaching of the Most High Father. No matter where you’re from, Emmanuel is the representative of the black nation, the foundation of the nation. His Majesty, is ordained the King of the black nation. So our principles are handed down from the Most High God, who created heaven and earth. It is our culture. It is our way of life. Rastafari embraces all houses of God, all other faiths. When Sizzla deals with the youths and people from other cultures, it is about tolerance. It is about knowing yourself. Knowing myself made me know the Truth. Everything I have to do is connected to the culture of the nation. It’s about reading the Bible, and embracing the teachings of the elders of the nation. It’s about not becoming a part of violence and straying from the right path of the culture. So it’s not just about becoming a part. It’s ordained. It’s compulsory.
What are some of the Principles of Bobo Shanti Rastafarianism?
The keeping of the Sabbath. Psalms reading. Every morning you read the Psalms. There are Seven Psalms in the morning, Seven Psalms midday, Psalms in the evening and at night time. It’s possible, if you got the strength and the company and the reverence, you sing the Ethiopian International Creed, and maintain the Bible upright. Women keep the 21 days Principle, when female menstrual, when you refrain from certain things. Keeping the principle of the Tabernacle, being in charge of the Tabernacle. There are daily principles like roll call. Every morning you rise up, you go and you have a nice bath and you get yourself together and you meet the priest at the front of the Tabernacle. You start with the reverence of Ethiopia International Creed and you start with a chant, and with the reading of the Bible, the Book of Prophecies. And you say the Seven Psalms also every morning. You have the roll call book where all the names are being called out to find out if you are present or absent at the Foundation. Because it’s a black foundation set for the black nation in a world of black people. As with His Majesty’s mission to return the people to Africa. We can’t go on with the people being dumb, confounded and having no knowledge of themselves and how to deal with other nations. So these are the principles we keep in order to deal with people of the world. Your own people, your own nation and other nations.
Your songs have had a great impact in the reggae scene because you give guidance to the youths and food for the soul with your music. What made you want to take on this mission to serve the people?
It was the first mission from my mom and my dad. My mom and my dad took care of me, and I’m a human being and human beings, we have to take care of ourselves. And it’s a mission from Creation, where, our creed as Rastaman is: “Hungry be fed, Naked be clothed, Sick be nourished, Aged be protected, Infants be cared for.”And then bring love and harmony and justice throughout all nations. Every nation needs to be cared for. You see this is what is happening in the world right now. The president has to make sure his people are being cared for in every country. The king, the queen or whosoever is ruling. And I feel good within myself doing good things for the people, and that’s what I think I should be doing. Educating, teaching the people how to love and showing them love, because that is what my teacher a taught me in school. That teacher, even though you gave her or gave him a check, each took years an teach me “Sizzla, learn to read, learn A-B-C, learn 1-2-3!” They got the patience.
So I am just continuing the mission of the Most High Jah: To spread love throughout the world and take care of the people through music. Spread love through food, through education, through clothes, any likkle thing. That is the duty. Love your one another, as Christ the Rastaman said, linage of David. Love your one another as you love yourselves. Love your brother and sister as you love yourselves. It was love that has made us. It was love that brought us here. Doesn’t matter how wicked or brutish we became, it was love what brought us here. Mommy and daddy make love and brought us here, through 9 months, through the powers of the Almighty. That’s it. So I feel good doing all these good things.
According to the teachings, we are now living in Babylon. How can we make it easier to get through life in Babylon? Does it have to be combated?
No, you don’t have to combat nothing. Read your Bible and pray every day and do good always. And as I said “Hungry be fed, Naked be clothed, Sick be nourished, Aged be protected, Infants be cared for.” And dispel all the bad stuff. Have a mindset, and think about his Majesty King Selassie and, yeah, think about Rastafari. Think about Africa. Think about your country being beautiful and think about all the other countries of the world.
It’s the mindset. It’s a system set by rich people to rule and dominate. You already knew that! So don’t let it bust your brain … just eat and drink, and try to outlive all these things, because it’s only for a time. Don’t hate no one, just keep out of the bad stuff and continue to do good stuff. And don’t put your cap where you can’t reach it. And know the company you are falling into. And read your Bible and pray every day. When you pray every day, while you’re praying, you’re not going to fight, if you’re praying. If you’re going to be reading your Bible, you’re not going to be hitting on someone. So read your Bible and pray every day and chant Rastafari. And do good stuff and you can overcome Babylon. Do good, always and show love always and you overcome Babylon. Once you love something, you won’t destroy. Rastafari.
Rastafarianism stresses very positive principles to live your life by. Do you think it has potential of becoming a mass religion and what do you think the effect would be on the world?
The effect on the world would be that we would come to the right way, and come seek Rastafari, because it’s all about love. As I said “Hungry be fed, Naked be clothed, Sick be nourished, Aged be protected, Infants be cared for,” it’s not just a religion. I think religion is personal. This is Rastafari. It’s a way of life not just a religion. Because people took religion personally and they go to war. But this is a way of life, the way of Jah. It’s a natural way of life, heaven to earth.
And the effect on the people, is for the people to be more united and be living in love. Letting them see the Righteous way, becoming more conscious in themselves, that is the effect it will have on the people. It’s only Righteousness. It is coming from love and it must be giving love. Whatsoever I think is based upon my meditation, after being taught about Rastafari and the culture of life and how we’re supposed to be living. Knowing all these things, being taught to me by the elders of the community, the elder Rastafarians. Even young boys and girls out there in the world, sit me down and talk to me and told me how they feel and what is happening in the world. After knowing all these things, that’s the best. As it is. The principles of Jah is not just a religion. The Ten Commandments is not just a religion, it’s a way of life, the way you should live.
Even though you transmit such a positive message, there has been a lot of controversy regarding some of your lyrics. They are perceived to be aggressive and militant against gays. Now, gay rights groups have lobbied governments and cities to prevent you from performing – to considerable success, unfortunately, as you were previously banned from performing in England and Canada. How has this affected your message?
No way it affect my message. People say, you know, it’s because it’s the Truth. People know Sizzla don’t do anything bad, and don’t get caught in the system. They know we’re not going to do anything bad to get caught up with the laws or stuff like that. But, it is the way of life, the way we live from day one.
And the Most High spoke it in the Bible: we must not be sleeping with the same sex. You can’t create life. It’s a way of life and life should create life. It took the male and the female to come together to create life. So I think that if you should go the other way, you are disrespecting your parents and the Most High God, and every human being in the world. Because all human beings comes through the power of the Most High, which is male and female coming together. And in the Bible we live that way male and female. And we have Prophecies and we have the Bible bear witness when the Most High burn Soddom and Gommora because of the corruption. So I couldn’t be coming singing to the youths of the world and not telling them the Truth. And it’s in the Bible.
So if it meant that you’re gonna took away the visa, and you took away whatsoever, the authorities, it’s not a problem because the word will still go out, and it’s the righteous word. So it doesn’t affect me in no sense, and it doesn’t affect the nation in no other sense. It only makes them wiser. And I’m good, you know what I mean. And I just spread the love same way, I have no bad vibes about it. Just continue to live and be happy, man, read your Bible and pray every day. Rastafari.
How do you keep a balance between having a complete message in your convictions and your career and getting access to more audiences?
I just live natural way. I make them all a part of my life. Because I’m sailing on the planet earth, on it’s axis, around the orbit, in the galaxy. I’m so happy right now, even to talk to you, someone this far, because this is planet earth and everything is love baby. So when I go out there, I say “Allright, my name is Sizzla.” and the people say they need some beautiful songs, so I’m gonna make them a lot of songs. So when I’m in the studio I make a whole heap of songs for them. And when I go home, I say “Listen to me now now, you know that I’m coming from the studio, I got to check up on my family, what is it you need?” I give them whatsoever they need: food, clothes, send them to school. I come back to the stage to sing and make a little money, I come back in the studio and buy more equipment, and the nation rock it with me. And I just rock it and I make it a part of my life. And I live it like that! I bring all these activities to be a part of my daily life. And that’s how I create a balance, make it a part of me. I love it. I nourish it. I nurture it. Same as how, you know, you got to drive your car and put gas in your car… I’ve got to make these songs for the people! I got to take care of my family! Make it a part of your life!
From new release to the clearance rack in less than a year? Damn. Since I discovered the clearance rack in high school, I had never come across an album that was actually released and demoted to a $1.95 price tag on a throwaway rack in less than a 365 day period. If that wasn’t weird enough, June’s No Security was a somewhat legitimate project. While D-Block isn’t gonna make a run for the top of the billboard charts anytime soon, to their credit they are led by Jadakiss, Styles P, and Sheek Louch. Additionally, while i’m from the left coast and there aren’t a tremendous amount of D-Block fans out here, to my understanding they have a somewhat serious cult following out east. So when I saw the disc actually under the clearance rack, in pile of unsorted CD’s, I had my doubts. Was it scratched to shit? Was it edited, and thus completely worthless? Are people from the bay that fucking uninterested in East Coast rap? Or was this CD just embarrassingly bad? It didn’t really make sense, and still doesn’t. The CD plays perfectly fine, it is far from edited, and while the quality of music isn’t that memorable, it should be worth more than the price of a swisher or two.
Still, it wasn’t the purchase I was most interested in hearing, because before I played the first track I had a very good idea of how the album would sound. It could be summed up in one word: generic. Now I’ve always been a fan of The LOX. Styles’ extreme anger makes a great combination with Jada’s laid back cockiness, and despite all the hate, I actually have never felt any dislike for Sheek. Yet the world’s desire to defecate all over Sheek’s legacy is the case and point as to why a group like D-Block will never succeed. Even the LOX are too generically hard for fans to enjoy all three members. Now make a group out of a bunch of rappers that are the Mountain Wave to Sheek’s Mountain Dew, and you have a perfect recipe for apathy.
After listening to the album all the way through I have to say that it’s not as mediocre as I thought it would be, but on the other hand, you’ve heard it 500 times without having heard it once. With rumors of a new project from the LOX in the near future (I could have sworn it was supposed to come out in 09’) there are two ways to evaluate No Security. First, people wanna know how the largely proclaimed hardest group in rap sound together at this point in their careers. Then secondly, they will try to see if there is anyone in D-Block (who somehow have barely even earned themselves more than a guest spot or two on a LOX group or solo project) that is worth paying attention to.
Let’s start with The LOX. On the front cover of the album Sheek’s picture is the most central and prominent out of everyone else, and he deserves it. He’s tied with Styles for the most amount of appearances on the disc with 7 out of 12 tracks, and he clearly pushed himself to sound as consistently good as anyone else on this project. As a fan, that’s the upside to the world deciding that Sheek is unfit to share the microphone with his fellow group members. He literally can’t afford to ever come weak, because if he does, the shit storm of hate and disrespect that he receives on a daily basis would turn into a full blown diarrhetic hurricane. Therefore for those of us who are actually willing to listen to the man, you get the benefit of hearing a rapper who continues to stay hungry 12 years into his career. His verse on “Brother’s Keeper” stands out due to a level of insight that I had had not yet discovered in his repertoire. Styles, probably my favorite member of the LOX, also works on 7 songs. His delivery continues to be flawless, and while on some tracks, such as “So Much Trouble” and “Hustler’s Prayer”, he comes with his classic bullet retardant boasts, he is also a little inconsistent. Since there are absolutely no surprises in terms of his lyrical content, it’s really important that he stays on point in terms of the vividness of his imagery and the creativity in his punch lines. When he doesn’t, his verses seem lacking and kinda lazy, such as his effort on “From The Block”. Finally, Jada only appears on three tracks which is somewhat of a disappointment. On the one hand, I’m happy he gave us a solid album in April, but on the other, if he’s advertised as a prominent figure in the project, I expect him to play the part. Still, he came with it lyrically on all three tracks. “Get That Paper” is the only song on the album that features just the LOX. The beat, made by German producer Crada, and the chorus, sung by S.I., are probably too far on the snuggie end of the spectrum for most fans of the LOX, who are probably be looking for good signs in regards to New L.O.X. Order. While this unfortunately seems to throw Styles off, both Sheek and Jada manage to sound comfortable and confident on the track, without sacrificing the overall character of their content. Sheek definitely delivers a standout verse, but if I had to give it one of em, Jada rocks a cool two word, two syllable rhyme pattern that gives him the edge.
Get That Paper ft. Sheek Louch, Styles P, Jadakiss & S.I. (Produced by Crada)
So Much Trouble ft. Sheek Louch, Styles P, Bucky & Beanie Sigel (Produced by Vinny “King Of Beatz” Idol)
If you’re going to write a reflective end-of-the-year list there’s this unwritten obligation to “sum” the year up; I suppose the general theme of 2009 would be death; lots of famous people died…anyway, being a self-absorbed leo, I like to think about the things that affected ME. If you want a little trip into the mind of PeD, please click below for my picks for movies, music, fantasy MVPs etc. of the year. On the real though, one thing I’ve learned when blogging, is that you need to really stick to things that you actually fux with. These are some of my personal favorites…
If your grandmother was world renowned for her derriere would you speak on it publicly? Personally I’d be uncomfortable with how many spank banks my grandmother had been unknowingly employed by. Regardless, Vida Guerra will go down as the most famous ass ever. I call it that Goldilocks ass, not too big, not too small, just right. Cop Vida’s 2010 calendar on her home page. And some Vaseline at your local drugstore.
This was a bad decade. It’s good to know it’s over. This doesn’t mean specific people didn’t ride high; perhaps it’s worth lauding their accomplishments in a series of lists that can be consulted as sorts of time-capsules. The boys in a band are not in love with the modern world, this is a good start; tragic love was running shit since Gwen Stefani crossed-over and somehow predicted it happening in her first music video with No Doubt, almost as if the whole thing was contrived from the get-go. PAUSE.
Are there really commercials in this shit? They’ll ruin any good thing with inundated bullshit, won’t they, these record execs? Even Lupe Fiasco fucking complains; it’s enough to drive any loving critic fucking loco! So if this decade is all about losses; then we can casually sift through the wreckage, like Japanese cockroaches with helmet-cams and try to make sense of the fact that we are being controlled like robots by those who continually sell us new technology to make our lives MORE than what we could on our own. This growth is a kind of cancer of the human body; not on that Non-Phixion tip “1975: they created AIDS inside a laboratory” it’s amazing how many people can get caught up in superstition. PAUSE
The rechargeable battery came to replace the middle man between you and your product, now it was just supposed to be the player’s designer and the energy company which owned all your shit. Renting became so fucking easy, borrowing for no apparent reason the norm for 10 years, and the landslide that came a tumblin’ down was somehow a surprise to a suddenly defunct, but not quite dysfunctional family that is the american empire; no capitals here, cause’ there’s nothing to celebrate. Amiri Baraka once asked Thelonius Monk, “what’s happenin’?” Monk replies, “Everything, at the same time.” PAUSE
Is that shit not HILARIOUS: ZIF exclusive thought: reshoot this document piece, but make it about AznAmerican ballers, specifically Taka Yasuzawa, the Takstar.
Not a whole heck of a lot to say about the new Yeah Yeah Yeahs video, “Heads Will Roll”, other than the fact that it’s ill. I’ll also argue that the trio’s latest album It’s Blitz is one of the year’s best. Oh yeah and I also have a crush on Karen O. And another thing: I appreciate bands who allow the officialYoutube versions of their videos to be embedded liberally, unlike some artists I know. I also feel that it’s time pansy vampires were kicked to the curb and I think werewolves are just the beasts the do it. Go chew some garlic bubble gum, bitch.
In a year full of resurgence from some of Hip-Hop’s past leaders, a lot of rap fans have somehow slept on OC and AG’s November release, Oasis. Despite my time constantly scouring the clearance racks, as well as knocking the new releases of 09, over the past two weeks I have found myself consistently turning to this album. While both MC’s have been working together for a long time as members of the groundbreaking Diggin’ In The Crates crew, this was their first opportunity to work on a project as just the two of them, and the result is what most D.I.T.C. fans have come to expect: intelligent wordplay paired with serious production, which creates an overall tone that is both reminiscent of New York’s Boom Bap era as well as embracing of modern times.
Last week I had the opportunity to speak with both O and A about the new album, their taste in music, E Blaze, the newest member of the D.I.T.C. crew, and a lot more. They’re both real cool guys, with an incredible amount of experience under their belts, that has developed into quality insight about the game. Yet don’t get it twisted, by no means are they living in the past. These two are true hip-hop artists, and as such they plan on continuing to develop with the times. Peep the interview to hear it in their own words.
ZIF: 2009’s been a big year for groups from new combinations like Slaughterhouse, KRS and Buckshot, to favorites like Method Man and Redman doing another album together, De La Soul with a new project, Souls of Mischief with a new project. So what do you think makes Oasis stand out?
O.C.: I mean, I never looked at it that way as far as it standing out, we just went in with the notion of just having fun. You know, just putting down our pain, our sorrow, our happiness, joy, you know, whatever the song tells me to do. You know what I’m saying? And, we really didn’t think about what nobody else, you know, was doing as far as other albums. We just went in and had fun man. Like, it’s been a long time coming as far as like anything Diggin’, as far as like the Diggin’ compilation. You know what I’m saying? I mean this is really an amazing product for me and A. This was maybe, Big L and Show was putting in the work before he passed away, so me and Big L was about to do a record together. And you know, unfortunately it didn’t happen. We put in a couple of songs and you know, we moved on after that. A was busy doing a few projects, you know, and I was busy doing a few projects out in Cali with Souls, you know Hiero. We finally came together, me, him, Show, and Finesse and we just sat down and was like, “Yo man, what’s up? What y’all wanna do?”
ZIF: How would you describe the overall feel of the project?
O.C.: I mean, it’s just. Overall this a feel good project, at least from my perspective, because you know, with everything that’s been coming out, in the past few years man, it’s just like for me. Like I’m a fan of Hip-Hop. So, when I pick up people’s albums, you know what I’m saying, all you really getting is like compilation records. Like, you got soloists coming out, but they got 11 features. You know what I’m saying? I mean, not trying to sound like an old school cat or anything like that, but I know for me if you pick up a Rakim album, you pick up a KRS album, you pick up a Slick Rick album. You know what I’m saying? You know it just made me feel like damn, like, they, they put their work in, and they didn’t need, it didn’t take 7 or 8 features to make people notice they record. They did it on their own, you know, with the helps of their peoples or whatever, but for the most part man, I enjoy an album that’s, you know, solely put in work by the person who’s recording it. Not, no 20 features on it, and you know, 17 producers you know, going all over the place. So we just kept it real in-house, and you know, we didn’t do the feature thing or nothing like that. We just wanted to make a good record.
ZIF: Yeah, I mean, I feel like that’s something that has always been a trademark of anything with the Diggin’ In The Crates. It’s mainly the MC involved, and when there is a feature, rather than having it be, you know, a verse sent through the mail or internet, or anything like that, you can tell that you guys are really vibeing off each other, and that it’s kinda like a family affair.
O.C.: Yeah I mean if you look at, not to cut you off, but if you look at any previous albums from any of us like, it was always in-house. You know what I’m saying? You know with the exception of maybe a Premier. You know what I’m saying? Somebody like that, which is family. You know what I’m saying? But you know, we always really kept it in-house man. I always kept Buck for the most part on my records or, you know, Finesse would contribute, Show would contribute, O.Gee. You know what I’m saying? The only person I probably really didn’t dig into was Diamond, you know what I’m saying, and that’s just something that didn’t happen, but it’s gonna happen in the future.
ZIF: Speaking on that a little more, after all these years, what is it about the relationship between yourself and the rest of the Diggin’ In The Crates crew, that’s allowed you to continue enjoying making music together?
O.C.: I think we’re not the traditional group that came together first and recorded an album together, and tried to do solo records. We all came in as a duo or as a solo, and we turned around and did the, you know, the Diggin’ project, you know, after L passed away. I think for me man, it’s just, it’s something that we bring. You know we, it keeps us grounded, in a sense, that we didn’t have overall crazy success as far as name records and stuff like that. I think that shakes up a family. When you got money that, you know when money plays a part, you start having to divide and conquer. You know, people have other managers in their ear. You know what I’m saying? For us man, it’s really a brother thing man. It’s really brothers. We just brothers from different mothers, but we all blood, like we brothers. No matter what, if we get upset, if we juggle, whatever the case is, we brothers.
ZIF: So moving on to the production end of the album, one of the things about all of your projects is that you’ve worked with a who’s who list of some of the most renowned producers in general. You know from everybody in Diggin’ In the Crates: Lord Finesse, Showbiz, Buckwild, Diamond D to like you mentioned earlier, DJ Premier, you were on that Pete Rock, Soul Survivor, A.G. had DIlla on his last solo, you worked with Da Beatminerz, you know etc… How do you go about beat selection for an album? Because you always know when you’re going to buy a Diggin’ In The Crates album, that on top of the lyrics, that beat wise, the music is going to be equally satisfying.
O.C.: Well, I mean, like all the, all the producers you mentioned you know, as far as Beatminerz, Premier, you know what I’m saying, we was all recording in D&D. You know what I’m saying? So this is where everybody, everybody you mentioned is basically like extended family and stuff like that. So you got Mr. Walt, he walking out of they room into our room, Prem walking into the room while we recording. So you know what I’m saying, they add-on when they listen to things that you know me or A or whoever’s recording, you know. I guess it’s just a natural selection like, “Yo I got something to add to that”. That’s Prem. On Prem’s part, he’ll listen to a joint and be like “Yeah, yeah, I got something to add to that” or, “I got a scratch” or, “Yo, this beat I just did last night, would fit perfect with the album”. So, it was just more of a flow through the studio, you know what I’m saying, with everybody being in there at the same time. And actually, it’s like, it’s an accident. You know what I’m saying? It’s sorta like an accident. Cus everybody was in doing their own records, but everybody contributed to each other and helped each other out.
ZIF: In terms of working as a duo for this album, how was the beat selection process? Was there ever a time that you were liking a beat that he [AG] wasn’t feeling, or vice versa? Is that how the solo tracks came about? How does that work, having to choose beats that both of you are excited to rhyme over?
O.C.: Well you hit it right on the head. I mean some things I didn’t like. Vice versa somethings A didn’t like. If you listen to a few of the solo joints on the album, with the exception of probably “God’s Gift” and “Everyday Life”, certain things on the album, A probably came in late, or I came in late, so we just didn’t make the record. Or, it was just something that, you know, maybe he wasn’t vibing and I was. You know there’s really no problem with that. Then you got Show, you know coming in, he’s the executive producer on it, so it’s like, you know, we all grown men, he really didn’t have to watch over us or nothing like that. You know what I’m saying? Because we all do this, this is what we do. But like I said in the previous answer, like it’s more or less a joint that Prem or Show hears, or somebody hears, and he like “Yo, I got a perfect joint within the whole spectrum of what y’all recording already”. So it’s really not a hard process man. Like, we’ll probably do a lot of songs and just pick. You know what I’m saying? That’s basically it.
ZIF: On this album, in addition to the regular beat producers that’ve been hooking you guys up for years, you got a relative newcomer handling a lot of the production: E Blaze. And he did a really good job of standing up with the vets, and showed a lot of range from triumphant in “Keep It Going”, to cool and laid back with “Supreme Squad” and “Everyday Life”, to real gritty with “The Pain”. Tell us how you guys got together and started working with each other.
Keep It Going
Supreme Squad
O.C.: First of all, E Blaze is from Paris, and I think he lives in Canada now. He’s a French producer, and he was up here beat shopping in a store somewhere, and to make a long story short, him and Show bumped heads, and I guess he introduced himself, told Show what he does, and Show took him under the wing and started bringing him to the studio. And when he played his stuff, it was just like a natural fit. And if you know, everybody brought somebody in to Diggin’. You know what I’m saying? Buck brought me in, Finesse brought Show and A together, Diamond brought in Fat Joe. You know what I’m saying? So, I think the whole premise of Diggin’, what a lot of people really miss is that, you know, we always try to add-on and not just keep it closed and “Yo, this our crew, we got a circle and we ain’t trying to let nobody in”. If you got some tight shit, we gon fuck with you. That kid definitely got a future right there. E Blaze is part of Diggin’, he’s a Diggin’ In The Crates member now. You know what I’m saying? It only made sense man, like he’s hungry, it’s just all crazy, and it just made natural sense for us to keep messing with him.
This week Lupe Fiasco had one of his new tracks leaked by an unknown party. The track is called “I’m Beaming” and it’s a Neptunes joint. You can peep the track (below), but the intriguing part of this story is not sonic. Lupe is extremely irked at this “unknown source” and is threatening to sue the wraithlike culprit. How ridiculous is that Lupe endorsed notion? First of all, why are you this surprised/pissed that one of your tracks got released?
“A lot of time and energy goes into the creation of this music, not to mention large sums of money, money provided by my record company as well as from my own personal finances,” he explained. “My music is the product of my life. It means so much to me. I take pride in it and I also take pride in how it changes peoples lives and gives them hope. So to see it treated in this manner really numbs the soul. So many of my family and friends rely on me for their well-being and I rely on my music to give me the opportunities that allow me to provide for them.”
Oh…I suppose that’s a reasonable point, though he’s still clueless when it comes to the practicality of leaked tracks, both in their restriction and their beneficial qualities. Secondly, how are you going to sue this unknown source? Especially when you find out the dude came from inside your camp? Guy, get over it, the track isn’t even that hot, the instrumental is clean, but your flow isn’t beaming.
Lupe Fiasco – I’m Beaming (Produced by The Neptunes)
Singapore Kane is the internet’s equivalent of an Amazonian jaguar, a rarity to come across, but catch a glimpse and you’re hooked for life. SK put me on this interview he just completed with Beantown hip hop blog Bostonianz617. The interview isn’t exactly Walter Kronkite inspired stuff, but the footage of Singapore killing it in a small Boston venue, pure fiyah. Check part 2 of the video after the jump.
PeD
Jake
tak4prez
Doogz
*sHOTgun*
asugs
Matt
Yvettita
