Name: Adam Bernard Home: Fairfield, Connecticut, United States About Me: Entertainment journalist w/ over a decade of experience. Lover of good music, fringe movies, day baseball & chicken shawarma. Nerdy, but awesome. See my complete profile
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from the good of Lilith Fair switching things up, and new albums from Amy Grant and Christina Aguilera, to the evil of having to hear more from Paris Hilton and Perez Hilton, and Green Day’s alleged thievery, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
You’d be hard pressed to find anyone who listens to music that isn’t familiar with the seminal rock band Queen. Everyone has a favorite Queen song, one of the most popular being “Bohemian Rhapsody,” which was given new life in the early 90’s thanks to the first Wayne’s World movie. Not a lot of people would associate the group with hip-hop, however... until now. Five of hip-hop’s finest underground talents - Jake Lefco, Ryan-O’Neil, Domer, Kats and iLLspoKinN (pictured clockwise from top right) - recently came together to create Bohemian Rap CD, a six song EP where every track features a different sample from the Queen classic. The goal was to make something that was dope lyrically, as well as production-wise, all while sticking to, in Domer’s words, “a real dedication to keeping hip-hop fun.” They also made it available for free.
Kats and Domer, in addition to being artists, are also the co-founders of freeicecream.net, a site where they, and other artists, release albums that have a sticker price of zero dollar and zero cents. They linked up with Jake Lefco, iLLspoKinN and Ryan-O’Neil for Bohemian Rap CD thanks to their established relationships with them through their work in NYC’s hip-hop scene. Ryan-O’Neil, who is one half of 100dbs & Ryan-O’Neil, has been featured on a number of freeicecream.net mixtapes. iLLspoKinN is a battle champion who is also the host of Freestyle Mondays in NYC. And Jake Lefco has made a name for himself throughout the East Coast as KRU Records’ top artist thanks to his two critically acclaimed albums, And You Are? and Missing Trooth.
This week I scored an exclusive interview with ALL FIVE of these talented artists to find out more about the Bohemian Rap CD project, including why they’re giving it away for free, and what they think Queen would think of it.
I was introduced to Kalae All Day by Conscious, late in 2008, while we were all hanging out backstage at the old Knitting Factory in NYC. She didn’t tell me very much about her music, but when Conscious told me he was looking to work with her I knew she had to be one extremely talented woman. Fast forward a year and a half and Kalae All Day is one of the leading ladies of NYC’s hip-hop scene and her just released debut album, AFROMATIKNEOHIPPIEROCK*SOLEMUZIK*, which features the likes of Homeboy Sandman and Mic Wilson (formerly PreZZure), is already a favorite among artists and fans alike. This week I caught up with the woman with the big hair, and equally big smile, to find out all the things she wouldn’t tell me about when we first met, including the ways in which she feels she destroys many of the stereotypes regarding female emcees.
Adam Bernard: First question - how come when we first met you didn’t tell me you had crazy nice skills on the mic? Kalae All Day: Cuz I’m not one to brag.
Adam Bernard: OK, well forget bragging then and tell everyone a little bit about yourself. Where you are from and how did you first get into music? Kalae All Day: I’m originally from Pandora. I’m of the Na'vi tribe and I was sent here in an Avatar body in order to learn your ways and become an ambassador of peace, at which point I will cleverly pillage your land and suck its resources dry. That, or I’m from Harlem. Ever since I was a small child music has been a huge influence in my life. Whether my mom was bumping soca or Barbra Streisand I was listening. I would say it all just happened organically. Music was pretty intrinsic for me.
Adam Bernard: There are a lot of stereotypes about female emcees, I’m sure you’ve heard them all. Take a minute to explain the ways in which you destroy some of those stereotypes. Kalae All Day: I destroy them with my afro. Need I say more? Yes? Aiight, so basically stereotype number one is that femcees gotta take their clothes off to make sales. My clothes are all on. Stereotype DESTROYED! Stereotype number two is that quality femcees are portrayed as gay/manly. I like dudes and I’m quite feminine. Stereotype DESTROYED! Stereotype number three is that femcees only rhyme about sex. I don’t only rhyme about sex. Stereotype DESTROYED! KABLAM!
Adam Bernard: Wow, you made fast work of those! Staying on the topic, do you feel there are added responsibilities thrown your way being a woman in hip-hop, and if so, what are they and how do you deal with them? Kalae All Day: I don’t like responsibilities, so I throw them back. I honestly have not yet felt the "pressures" of being a female in hip-hop. To be honest, I've had mad love thrown my way. I don’t think that I can relate to some of the situations other femcees have experienced. That also may have something to do with me being a singer as well, and possibly not being placed under the same amount of scrutiny as other femcees.
Adam Bernard: You just released your debut album AFROMATIKNEOHIPPIEROCK*SOLEMUZIK*. Break down the title for me, what is AFROMATIKNEOHIPPIEROCK*SOLEMUZIK*? Kalae All Day: It’s all about blending genres and being eclectic and "mad explosive spontaneity." The album is very "spottieottiedopalicious," so I wanted that to be reflected in the title. It’s a mix of words that describe my sound. I think each word is pretty self explanatory except possibly the spelling of "soul" being changed to "sole." That’s because I’m into kicks, so it’s a little double entendre for ya’ll.
Adam Bernard: You worked with an impressive array of artists for the album, including Homeboy Sandman and Mic Wilson. I hear you also had a pretty amazing producer. How did everything come together? Kalae All Day: Princess Superstar was the executive producer of AFROMATIKNEOHIPPIEROCK*SOLEMUZIK* and we took many beats from her and a beautiful array of producers all the way from Harlem, like Arsiney, to France, like Nikky Lars. Working with Princess Superstar was a dream come true. She was the source of constant inspiration to work harder and really get this album done and make it better each day.
Adam Bernard: Moving from your music to your personal style; from the bright colors, to the big hair, how long did it take to develop your unique look and how much effort goes into it today? Kalae All Day: I woke up one morning and everything was in place. It was quite fantastic. Something like the Big Bang Theory. As far as daily effort, I try my best to not think about what I’m gonna wear because it stresses me out, so I lay all my clothes out, close my eyes, and spin.
Adam Bernard: How do you think your look and your music compliment each other? Kalae All Day: My look is AFROMATIKNEOHIPPIEROCK*SOLEMUZIK and so is my music, so I’ll say, perfectly. Although some people claim that they wouldn't know that I rap from just looking at me. I guess I’m a surprise, just like my music. I like that I’m unexpected.
Adam Bernard: Finally, what is “all day” about Kalae? Kalae All Day: It’s about time. I’m Kalae all the time, but that doesn't rhyme, visa vi, ergo, "ALL DAY." Really, let’s not make some prolific shit out of this, it has a ring to it. It’s the same reason why rappers add “Lil” before their name except I’m tryin not to be as generic. Plus I couldn't get away with calling my 5'10'' 170 lb frame "Lil."
I gotta give T-Weaponz and Tony Touch a ton of props for this one. Featuring an old school flavor and new school flows, "Put Soul In It" is something that will have you clapping your hands right along with the Sabor produced beat. The video also has some really beautiful women in it. Come to think of it, I should holler at Iz-real about being in the house the next time they're auditioning women for a video. You know, just in case they need another set of eyes.
Singer/songwriter John Enghauser has witnessed the true power of music. "I love to travel abroad," he says, "and there have been some specific situations where I've played, even just me singing with my guitar, breaking down communication barriers." He recalls one time in Myanmar (formerly Burma), when he was playing his guitar for a group of kids and "they just ate it up like it was the coolest thing they'd ever seen, and they didn't speak a lick of English." According the Enghauser, "those are the kind of moments that you draw from more so than your standard, straight ahead, gigs."
It hasn't always been smiling kids and happy times for Enghauser, though...
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from the incredibly large amount of money Lady Gaga is being sued for by her ex, to the one smart, and one stupid, business move made by major labels this past week, to the NINE figure deal the Michael Jackson estate signed with Sony that will make sure we’ll be hearing more of the king of pop’s music for many years to come. Oh, and there’s also a guy who likes coffee... a lot, and since it’s Pop Shots you know everything, even the coffee, is seasoned with a little bit of attitude.
When Hamden emcee godAWFUL chose his name he knew there would be plenty of jokes thrown his way, especially in the battle scene. “I’ve heard all the punch lines,” he says, “‘take your name literal!’ I’m like, wow, that’s creative.”
Had his lyrical combatants had a dictionary handy they probably would have been surprised by the literal definition of the phrase God-awful. “It’s not so much bad,” godAWFUL explains, “it’s disagreeable.” This, he says, is, in an odd way, fitting for his work. “My music is not always agreeable, sometimes it’s a little abrasive and confrontational.” When he first chose the name godAWFUL, however, he did so for a completely different reason. “I wanted a negative connotation because I didn’t feel I was very good.” godAWFUL notes he saw himself progress steadily over the years and “eventually I got some self confidence.”
That self confidence led to a teaming with fellow Connecticut emcees Logic and Alley Hood to form Penalty Box. godAWFUL is quick to explain that Penalty Box is “not a rap group, and it’s not a label,” saying instead, “it’s something that fans can back. It’s kind of a movement.” And it’s a movement that’s moving forward as godAWFUL just released Beats & Rhymes In The Key of Awful Vol. 1, a seven song EP which he both wrote and produced (available at godawful.bandcamp.com), with the title being an obvious homage to Stevie Wonder (Songs In The Key Of Life).
godAWFUL’s goals for the album, and with all his work, is to move hip-hop forward by bringing back elements of its past. “I want to take hip-hop back to when you sat in a room, lit up whatever you do, sipped on whatever you do, and just listened to what the man was saying.” He balks a bit when it comes to being labeled progressive, though, at least for now, saying “I don’t want to say I’m progressive, like I’m the next level of hip-hop music, but that’s what I want to do. I want to see hip-hop taking a turn towards improving, because lately hip-hop is locked. It became a product and we’re just playing formulas now. I want to break the formula and I want to see progression.” He adds that progression was a regular thing in the 80’s and 90’s, noting “back in the day everyone was progressing. When (A Tribe Called Quest’s) Midnight Marauders came out everyone was like ‘yo, they went and did THAT.’ I want to bring that feeling back.”
An idea godAWFUL has been working with, musically, to bring that feeling back is one of progression through aggression. This is one of the reasons why when he was recording Beats & Rhymes In The Key of Awful Vol. 1 he was listening to rock music rather than hip-hop. “I listen to metal, screamo, emo, everything, the whole spectrum of rock music. I love the energy behind it. That’s actually what I like to replicate in my songs.” godAWFUL also loves that rock music won’t subconsciously influence his delivery, noting that another reason he doesn’t listen to hip-hop while recording is “because I don’t want to unintentionally bite anyone.”
While bands like Eyes Set To Kill and iwrestledabearonce may come out of his speakers during his writing sessions, it was a decidedly hip-hop group that first inspired the now 22 year old emcee to pick up the mic. “Once I found Jurassic 5,” he remembers, “I was like yo, hip-hop can be something else, and that’s when I was like, lemme take a wack at it.”
Artists like Jurassic 5, as well as P.O.S. and Sage Francis, are the types of hip-hop artists godAWFUL listens to when he’s not recording, as he respects the fact that their depth is authentic, which is something he can’t say about a lot of other emcees. “I know a lot of rappers will write something, but they won’t come up with a meaning behind it until it’s recorded.” godAWFUL compares this to trying to make something meaningful out of gibberish, saying “it’s pretty much writing ‘the unicorns ran through the field,’ and they won’t come up with a meaning for it until somebody asks em and they’re like ‘nah man, that’s about me being at the package store.’ Like, what? What are you talking about?”
That kind of writing is something godAWFUL doesn’t accept in other emcees, and even more importantly, he doesn’t accept it in himself. “When I write my lyrics I like to make sure they have meaning straight from the jump.”
Putting it even more succinctly, godAWFUL sums up his feelings on his lyrics, and everything else involving his career, saying “I don’t want to half ass anything.”
For Maiysha, the road she’s taken to success hasn’t been a typical one. “It has not been a linear route,” she says with a laugh. After spending half a dozen years in the studio, she earned a Grammy nomination in 2009 from her very first single, “Wanna Be,” which is off of her independently released debut album, This Much Is True.
Now residing in Brooklyn, NY, but having grown up in both Minneapolis and Chicago, Maiysha could hold a tune singing in the back of her mother’s car at two years old and made her stage debut as Dorothy in her elementary school production of The Wiz. After graduating from Sarah Lawrence College, Maiysha found herself running the drama department of an elementary school, looking to make ends meet. When someone suggested she try modeling she gave it a shot. People took notice, including the people at the Ford Models, who signed her up and still represent her.
Through modeling Maiysha beat a temporary bout with stage fright while raising the funds for her music career. She jokes “there was a lot of running around in underwear. They pay handsomely for that.” I caught up with the talented songstress and while all the clothing stayed on, she let everything else hang out.
We’ve entered a new season and with that in mind I’ve packed this month’s edition of my ABX podcast with 13 new songs and a handful of new artists. I have something for people who dig incredible feats of lyricism, something for the fans of more laid back tracks, and something for the folks who just want to go wild. In other words, there’s something for everyone, so as long as you’re a part of “everyone” you’re definitely gonna find something you like.
Kats, Jake Lefco, iLLspoKinN, Ryan-O’Neil & Domer - So You Think You Can Spit Top $ Raz & Kalil Kash - Be Gone godAWFUL - No Superstar Dessa - Matches To Paper Dolls Sketch Tha Cataclysm - The Meditation Grand Phee & Rhyson Hall - Beautiful Invisible Bullies w/ Rue Melo & Coexist - So Fly (My J's) Loj - Outta Town Benjamin Hooks - Ill Back Then R.Me - Follow Da Lead Vinnie Scullo - Fuckface Plus - Risky Business Kats - Levitate
Plans don’t always work out, but for R.Me a failed plan ended up leading them to something much greater than they had imagined. In 2008, Steph L.V, X Maximus, Rashid Amir and Real Da Magnificent (pictured L to R), wanted to combine their four teams. Conflicting interests led to that dream fading in the summer of that year, but with the four leading men still together on Rebels Music Empire Recordings, Real saw a new opportunity. “From the previous collaborations that we had done I figured we should form as a group.”
Real’s idea turned out to be a really good one as the group they formed has been making an impact on stages throughout NYC. That impact is now also making its way into people’s homes as R.Me just released their debut album, Still Untitled Til This Day, which features production by Real, Saez The Last Son, Rashid Amir, Cliff Rock and Raydar Ellis. According to Steph L.V. the group’s goal is “to shake up the music industry and have some fun while doing so,” and this week I caught up with all four member of R.Me to find out more about how they’re going to accomplish that.
Adam Bernard: Why don’t you start off this interview by breaking down what makes each of you unique within R.Me? Real: I always describe R.Me as four different seasons. Rashid Amir is the mellow, laid back poet. Steph L.V is the smooth heavyweight lover. X Maximus is the gritty, dirty, grimy lyricist. When he rhymes, he sounds like he just got out of jail. And myself, I'm considered to be the hype explosive character. Sometimes too hype because my brothas will feed off of my energy and we'll all be onstage looking like Warren Britt x 4. KRAZYYY!!! X Maximus: It’s almost like we take on different energies that hip-hop portrays. For example, my dude Real reminds me of those Onyx days with his high, wild, agitated energy. Steph is the golden child, he even was when he was a solo artist. His records save the day at the party. Rashid Amir creates the somber, but lyrical, ambience for the group. He always reminds me of Common in how he keeps an optimistic attitude in records. And myself, {laughs} I think the record speaks for itself. Rashid Amir: At the same time, I feel that we connect on a unison level and come together well as a group.
Adam Bernard: I know R.Me can be pronounced two ways and mean multiple things, so is it “Army,” is it “R dot Me,” or is it both, and whichever the case may be, what does it stand for and how does it represent you? Rashid Amir: R.Me is pronounced “Army,” but don’t be surprised to hear us go by “R dot Me.” Ultimately we go by the first pronunciation officially. Colloquially we may refer to ourselves as “R dot Me” just because it sounds cool. And why not name a four man group from Brooklyn R.Me? We roll deep as it is, but when you add our people that come out and support us, and the fact that we’re a force to be reckoned with, I say that pretty much sums up the appearance of an Army. Real: I get the feeling when we step on the stage that people look at us like we're 20 deep. Also, we all have our own arsenal. We have different skills that we specialize in, and when we come together as a united front, we can take over cities.
Adam Bernard: You just released your debut album, Still Untitled Til This Day. First off, why is it still untitled? Can’t the four of you come to an agreement! Steph L.V: That's pretty funny. We really couldn't come up with a name, so Still Untitled Til This Day was the choice. Rashid Amir: Although initially a joke, it actually sounded like a dope fit, and we realized that we were getting closer to our release date and really had no other choices. {laughs} Real: The meaning behind the title is this; we've been grindin for a long time, and the quality of music that we've been putting out, we feel, is some of the best material to come out of the underground scene, but a lot of politics determines how far you go in this music scene and a lot of the cats we've been looking at makes us question the quality, the content, and if as a community are we trying to progress and take the music to a higher plateau. Therefore, we're still untitled. You don't know us. You might of heard of us, but you're unaware of our capabilities, so we're going to continue to grind while waiting on our crowns. If it doesn't come willingly, the fourth track on the LP, "Run Dem," will become real life and we will take the crown.
Adam Bernard: You just led into my next question beautifully. Tell everybody about the content of Still Untitled Til This Day, because I think you cover a lot of topics in your lyrics while also doing some really interesting things with your production. Rashid Amir: Picture four guys that used to run the town coming back together after some time. That’s the whole idea of the album, we come together with a plan to take back what we once controlled, the places we used to roam, the streets we know, because it’s now run by this kingpin who’s fucking it all up. Now we're on some “save the day” tip and we run through a few different situations along the way, which is why it’s best to listen to the album from start to finish. Plus, it’s a concept album, so why not take advantage of that? X Maximus: The objective with this project was to create and develop a story. One of those wild Quentin Tarantino stories. Actually, if you think about it, Still Untitled could be a musical. Let's shop that! {laughs} But we hadn't heard a conceptual album in sooo long, we decided that element in hip-hop had been disintegrated and someone needed to bring it back. We wanted to cover modern topics, and discuss the new wave of society; accepting homosexuality, bright tight jeans, the illuminati, the recession. Steph L.V: We’re all about giving a little bit of everything, so we tried to come up with concepts that everybody can relate to. Real: Also, we didn't want the music on this album to seclude any demographic. We wanted this LP to be heard by anybody and loved by all. The album is broken up like a theatrical play. ACT 1: The Plot, ACT 2: The Escape, ACT 3: The Climax, ACT 4: The Downfall. The poetry narration was done by Kristine Anderson, and the production on this album was essential. We were annoyed with the typical hip hop beat, with same loop, the same snares, same drums. Our task was to add more breaks in our beats, as well as switch up the tempo and bring in a different melody, then return with the original beat. Having the same vibe from the beginning to the end of a song is corny to me.
Adam Bernard: Speaking of switching things up, groups are kind of an anomaly these days. Why do you think that is? X Maximus: I guess it’s the money. That’s one of our advantages as a group; it’s not about the money. It would be kinda nice to get paid, but fuck it, if we don't, we don't. We’ll keep makin hot records, keep networking, keep grinding. Forreal forreal, I feel more comfortable broke. {laughs} Steph L.V: We don’t let the hype of the industry dictate how we operate, we do this strictly for the love of music. Real: There are also a lot of groups that aren't honest with each other, so that brings about behind the back talking. With us, we really don't have an issue with telling each other "Fuck You." I think you need that element. Just be honest. I DON'T LIKE MAXIMUS. That's my brotha till death, but that doesn't mean that I don't want to fuck him up. I don't want to fake the front for the public. It be those same groups that look so cute and picture perfect together that behind the scenes can't even talk to each other. With R.Me you don't have to worry about if we have issues with each other, we'll tell you.
Adam Bernard: Finally, I know you can’t reveal it all, but give some insight as to what your plan is for world domination. Rashid Amir: {laughs} World domination is the plan, it’s the steps taken to get there that matter. We’re four young guys with tons of determination, charisma, and purpose to do more than what you see us doing right now. Real: I really want to develop an empire that is built on progress and uplifting people that would be structured by different teams. I came up with this idea for Rebels Music Empire in 2007 from a former slave named Tunis Campbell who took other former slaves to St. Catherine's Island in Georgia where they developed their own government and prominent community. From that idea I want to build a foundation with artists, photographers, bloggers, promoters, etc. and form a unified front where everybody can shine and become wealthy off our collaborations and alliances. Steph L.V: We definitely want to do a lot for our families and our community, but it’s not only up to us (individually), we all have to chip in somehow.
The first lady of Doomtree is one of the best female artists around, period. Dessa can sing, she can spit, and she puts on one heck of a live show. She is the epitome of everything a woman in hip-hop can be. While the ignorant people of the world have Nicki Minaj to worship, Dessa provides something more substantial and musically creative for the rest of us. Check out "Dixon's Girl" and I think you'll see what I mean.
The two words people most associate with punk rock are youth and aggression. This is why longevity is a term that doesn't apply to most punk bands. The Bouncing Souls, however, are one of the few exceptions to that rule as they recently celebrated their 20th anniversary as purveyors of punk. It's a feat that's hard to accomplish in any genre of music, but especially one where what is relevant today can be past tense by tomorrow.
The quartet (singer Greg Attonito, guitarist Pete Steinkopf, bassist Bryan Kienlen and drummer Michael McDermott) started their journey two decades ago in New Jersey, and without the aid of mainstream radio or video airplay found a way to take over a segment of the music world.
Still incredibly active, The Bouncing Souls tour constantly and as a celebration of their 20th anniversary, released four 7'' EPs in 2009 and a 20th anniversary compilation CD in January of 2010. I caught up with lead singer Greg Attonito to find out more about celebrating 20 years as a band, which now includes touring with bands that grew up listening to them. Attonito also discussed where he'd like to see punk rock go musically, and why the genre has such a strong relationship with charitable organizations.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from a pop starlet getting caught with a purse full of cocaine, to DMX’s continued drug issues, to a humorous comedy clip that features Justin Bieber smoking a joint and shooting a guy in the leg, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
If you like your hip-hop full of attitude there’s a good chance you’re a Jedi Mind Tricks fan. The edge Vinnie Paz and Jus Allah have in their rhymes, and Stoupe the Enemy of Mankind has in his beats, is a little too much for mainstream radio, though, which is why Jus Allah says “we have the type of music where you have to really seek us out. The average hip-hop fan, or the casual listener of music, isn’t gonna be like ‘yo, I’m a Jedi Mind Tricks fan,’ but if you’re really hardcore into shit, you’ll find us.”
Listeners have been finding, and following, Jedi Mind Tricks for over a decade, and what they love about the group isn’t just the extreme nature of their music, but the fact that they have the skills to pull it off without it sounding forced. The violence in their lyrics is spectacularly over the top, bordering, at times, on the level of a Tokyo gore flick, but they have an authenticity in their delivery that makes the listener believe in their passion, and, as with all of their work, they manage to sprinkle some intellectual thought in amidst the smatterings of blood.
Their willingness, and eagerness, to take on just about anyone or anything in their rhymes is something else that makes Jedi Mind Tricks stand out. The church, the government and television are just a few of the cultural icons that have come under fire in their lyrics since they first stepped on the scene. Many of their fans have been with them since that time and that’s something the group doesn’t take lightly. Jus Allah notes, “I don’t think there was a group that I listened to from eight to eighteen that I thought was consistently dope.” Vinnie Paz seconds this, adding “a lot of groups from my generation just aren’t relevant anymore and that’s for one reason, they’re incapable of regenerating fans and getting the younger generation into their shit.”
The two lyricists have found there’s no generation gap when it comes to their own work. Not only do they have some famous fans, like UFC fighter Mac Danzig, who had Jus Allah in his corner for UFC 109 last month, Jus Allah notes their fan base keeps expanding, and that “it seems like they’re just getting younger and younger. A lot of the fans at the shows we just did on this tour in Europe were like 17, 18 years old, and I’m like, we put out Violent By Design ten years ago. You were eight years old when that came out.” According to Vinnie Paz this is a sure sign that “the music is getting flipped by older brothers, or parents, or older cousins.” At some shows he even sees the younger generation of fans there with their parents. “I think that shit’s cool,” he says, “I think it’s cool that they have something to share and I think that’s the reason we’ve been able to stay relevant and busy.”
Busy is an understatement. Vinnie Paz and Jus Allah just arrived home from Europe at the start of the month and on Wednesday, March 24th, they’ll be embarking on a 21 city tour that starts at Toad’s Place in New Haven. Vinnie Paz explains that their live shows are something they take great pride in, noting “after the boom in the late 80’s where you had Public Enemy, and NWA, and these people who put on amazing live shows, it sort of became this lost art. We always wanted to make it a point of ours to, on some level, bring that shit back; the energy, crowd participation, all that shit, so that it’s an experience rather than a couple people yelling into a microphone.”
Jus Allah describes the live Jedi Mind Tricks experience as one of “lettin out that raw energy of you don’t give a fuck about anything, like you just want to do what you want to do and nothing is stopping you from getting that done.”
The group is actually getting quite a few things done. After being on Babygrande Records since the label was founded in 2002, they recently launched their own label, Enemy Soil, and are currently readying a number of projects, including a new Army of the Pharaohs album, which will hit stores on March 30th, a few solo records that they’re in the process of finishing up, and a new Jedi Mind Tricks album they hope to release in 2011.
Showing no signs of slowing down, Jedi Mind Tricks are ready to bring their attitude and their edge to yet another generation of listeners.
Not only did New Jersey Newsroom quote my review of the indie film Ice Grill, USA, but they gave me an impressive new title in the process, referring to me as "pop culture mega-blogger Adam Bernard." I gotta say, I like the title, and I'm thrilled to be quoted.
Not everyone is familiar with the name TRUTHLiVE, or the label Interdependent Media, yet, but if they checked the liner notes of some of their favorite albums from the past few years they might be surprised how many times the two of them appear. As a label, Interdependent Media, which is owned by TRUTHLiVE, is home to acts such as Tanya Morgan, Eyezon, Shaya, Finale, and Canibus. As an emcee, TRUTHLiVE is readying the 4/20 release of his debut album, Patience, which was produced entirely by Jake One, and he just put out a free downloadable EP, The Unlearning, to get people ready for it.
TRUTHLiVE’s story isn’t all about beats and rhymes, though. A survivor of not one, but THREE heart surgeries, TRUTHLiVE’s experienced some of the harshest things life can throw at a person and he’s not only still standing, but he’s in the process of building something great. This week RapReviews caught up with the Bay Area emcee/mogul to find out more about his incredible life story, how a close relationship with his backpack helped him realize he needed to start a label, and the artist signing he made happen that had all the major labels talking. It’s time to get all the way live with TRUTHLiVE.
Real hip-hop has an ace in the hole and his name is Ace Ha. I was introduced to the producer extraordinaire (pictured above w/ girlfriend Brooke Allison) over half a decade ago through a mutual friend, Black Jesus, who many of you might remember from the BET Uncut classic “What That Thang Smell Like,” and ever since we’ve exchanged our views on hip-hop and working out (he's actually the reason I have my abs. Thanks again, man!). Ace Ha is always busy, which is why this Artist Of The Week feature has been so long in the making, but the good news is it was totally worth the wait. An incredibly engaging and intelligent individual, Ace Ha pulled no punches regarding his controversial view on what ruined mainstream hip-hop, which artists he feels could eat some of the old school greats, and why he feels ditching the bulk of his production equipment has actually made him a better producer. He's living proof that the people behind the boards can have just as much to say as those on the mic.
Adam Bernard: I know you have quite the history in the game. Hit everyone with the Cliff’s Notes version of that history, including what you’ve done, who you’ve worked with, and what you’ve been a part of. Ace Ha: Sammy B and I did a concept album back in '97 called Summer of '77. It was a thematic tribute to the original Star Wars trilogy. It wasn't on that corny Bent Frame shit (Star Wars Gangsta Rap). In fact, that kid literally stole the idea from us after talking to us at a house party. Anyway, we placed really high in the John Lennon Songwriting Contest based on it and through Machiavellian machinations on the part of our manager landed a deal with an EMI affiliate called 2KSounds. They stuck their disgusting, middle-aged, hands in our project and the MaddWest album was birthed, much to our chagrin. Sam then bounced back to Indiana and I've been doing freelance, and ghost, production work out here in L.A. ever since. I've worked on a couple of soundtracks and I landed a gig doing drum programming for a production team that has songs on the radio these days. I’m also working with a crew up in Canada called the Scale Breakers, I’m working with Black Jesus, and I just got down with a cat named Joey Ocean, a real old school rap head.
Adam Bernard: How have your recent musical endeavors have helped you expand artistically. Ace Ha: The drum programming gig has helped me artistically more than anything in recent years. Doing programming for a variety of genres gives you interesting insight into them. I've really come to realize that a banging drum track with everything else suspect will beat a great track with wack drums. Look at “Lip Gloss.” It’s wack, but it’s BANGING. That has been a really relevant revelation for me.
Adam Bernard: You have a theory that men catering to “the average woman” has ruined a large segment of hip-hop. Since I know you love the ladies, please clarify this for everyone. Ace Ha: {laughs} Yeahhh, man. I’ve been catching mad flak for that particular statement, but you know what, fuck it, I stand by it. Basically, I'm sayin, by and large, most women don't care about the essence and truth of hip-hop. I know there are notable exceptions, but before you hate: out of all the women you know, how many of them know who Kool Herc is? LL said something along the lines of, "make songs that women like and the fellas will follow." Then he went from being a straight Queens b-boy to licking his lips and pouring water on himself. And of course the ladies loved it, ladies love Cool James, after all, and of course those wack songs were hits, and of course the principle has been accepted. That means that a GRIP of rappers, and their sell-out producers, have been crafting hip-hop for a segment of the population that, by and large, doesn't give a fuck about hip-hop as an art form. The house-based rap on the radio right now is the logical progression. Now, since stating that opinion I have heard from lots of women and they have brought up two very good points that I would like to express for the sake of fairness. One - there are, in fact, quite a few women, mostly those involved in rap, that do know the history and do have love for the culture of hip-hop. EVERY SINGLE one of the women that had beef with me, minus my girl, is involved in rap in one way or another, and, by the way, don't feel pop rap at all, so it kind of makes my point. Two - I understand that there are A LOT of factors that have contributed to what I think of as the degradation of the art form, at least where the radio is concerned. Of course, if a lot of those songs hadn't been written, then the co-opting of hip-hop by major corporations may not have ever occurred, people only in it for the money would have chosen something else to do, etc, etc.
Adam Bernard: OK, so who do you think is getting it right in terms of making music? Ace Ha: There are a lot of cats getting it right, they just don't get the shine that they deserve. Homeboy Sandman and Tone Deff come to mind immediately. I’m also feeling Apathy, Paradime, Jonathan Toth, Rhymefest. The crazy thing is, the production skills and lyrical skills have never been better, it's just that they’re only available in the underground. We're talking about cats that came up listening to the golden age of rap and have continued to push the boundaries in that direction. You can't tell me that Homeboy Sandman wouldn't have eaten Rakim in a time-machine battle. He's continued in the tradition where the greats of yesterday left off, just as Rakim did with, say, The Furious Five. Unfortunately, hip-hop has become just another commodity in the minds of the average listener and because of this they tend to go with whatever is hot at the moment. Rap now is less about art and more about image, and kids want to fit in, so offer them the choice between Tone Deff and Soulja Boy and it's no contest at all.
Adam Bernard: Having such strong views on lyrical content, how come you’ve never picked up the mic and tried your hand at being an emcee? Ace Ha: I used to rap, but Sammy B got way better than me at the same time that I took a real shine to Paul's Boutique and Fear of a Black Planet production-wise, so I just bowed out and let him do his thang.
Adam Bernard: Other than those albums, what originally inspired you to get into hip-hop production? Ace Ha: My jumping into production was a matter of necessity. The cat that did our beats went off to school so I had to step up or quit, so I stepped up. Pops co-signed for an EPS sampler and I worked all summer at Rally's to pay it off.
Adam Bernard: How do you keep up with all the new production equipment that comes out on what seems like a daily basis? Ace Ha: Funny you should ask! Like many other producers I know, I used to be on that gear-chase. My apartments have always looked like used gear shops and I've always spent MAD skrilla on the newest shit. At some point I realized: I'm switching gear so fast that I never fully learn or understand what I have! I used that old EPS for like seven years and I knew it like the back of my hand. I never got the chance to learn a piece of equipment like that since, so about three years ago I decided to get clean of the addiction. I chose Propellerhead Reason and I ain't looked back since. I came up on stand-alone hardware and I'm used to that sound, so I make Reason do it. My boys Mac and Sub say, "ears not gears!" and I am a believer. It really ain't about what you use to program, it's your heart. Look at Premier, that dude used an SP, or some damn thing, for the longest! On a side-note, Brooke is a lot happier with my stripped-down set-up. Lots more room to do what she wants with the spot!
Adam Bernard: Keeping the lady happy is VERY good thing! It sounds like kicking your gear addiction was a pretty tough hurdle for you. With that in mind, what do you think has been the biggest hurdle you’ve overcome, either in your career, or life in general, and what’s the next one you’re looking to get over. Ace Ha: The death of my pops was the hardest thing, in terms of both my career and life. When he passed I didn't really feel like doing beats, or much of anything. He was instrumental in me getting to the point that I was in my career and was always crazy supportive. It still seems weird that I'll never play him another beat, but after a while you start thinking, "is this what he would want for you?" After that I kinda shook out of it and got back to work. The whole 2KSounds debacle was no picnic either. I think that my next hurdle will be figuring out how to stay relevant in a very changed music world. Back in the day you had to have a burning desire to do hip-hop because it required significant financial sacrifice to own the equipment. Now any kid with a computer and pirated software can do “a beat.” With that kind of glut of amateur material it becomes very easy to get disgusted and let the world pass you by. I've let a lot of money go because I felt like it was my way or the highway. I'm starting to see that you have to be less self-involved if you want to communicate with listeners.
Cook and Uno's C+U Music Factory is one of my favorite albums of the year so far and once you check out the video for "When You Rock & Roll" I think you'll understand why - these guys are really dope! "When You Rock & Roll" has some real depth to it regarding how the industry can change an artist and the video perfectly illustrates what they're talking about with a simplicity that makes it slightly disturbing how easily an image can be altered with just a few "stylists." You definitely want to hit play on this one.
For those of you who know Nick Jonas as one of the three Jonas Brothers, the triad that sends teenyboppers into a frenzy and Disney straight to the bank, calm your fears, Who I Am has nothing to do with any of that.
One is a singer who has already seen success as a model and actor, the other is a singer/emcee who's doing a career reboot after having a top ten hit in the early 2000's. Both sat down with me for Diamond in the Rough features for 101Distribution.com.
To find out about the singer who's shared stages with Bobby Valentino and Joe, and the time a fan went a little too far to get his attention - click here.
For more on the Canadian artist who spent time at the top of his country's Billboard charts, and why he wants his music to cross the border - click here.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Dancing With The Stars finding some hot celebrities willing to test their skills, to a hot new voice for Smurfette, to a famous family getting themselves in some really hot water, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
A couple of weeks ago I was asked to review Sade’s Soldier of Love for a publication not titled the Fairfield Weekly. Rather than being sent the album I was sent a stream, which, sadly, has become commonplace, but I loved what I heard, wrote my review, and decided I wanted to pick up the CD. Sounds like an easy enough task, right? Well, not exactly.
I happened to be in New York City that weekend and thought, perfect, unlike at home where over the past decade, or so, I’ve watched everything from Sam Goody to FYE close up shop, New York City is a bustling Mecca of music, surely I’ll find a random place to pick up a very mainstream album that at the time was number one on the Billboard chart.
My first thought was to head to Union Square, but then I remembered that all the Virgin Megastores had gone out of business. That also meant Times Square was out. I was still confident, though. I was covering the SOHO International Film Festival that afternoon. There had to be a music store around there somewhere.
I ended up walking over twenty blocks with a buddy of mine. We didn’t pass a single store that sold CDs. This brought a fairly frightening reality to the forefront - our so-called connected world has created a disconnect for people who have actual paper money and feet that take them walking around town. So much of a premium has been placed on our internet connectivity that we’ve lost many of the things associated with living in a reality that doesn’t involve a keyboard and looking at a screen. A reality that still exists everyday, for everyone.
Some have called downloading a convenience, and I’m sure it is for a great number of people. For those of us who enjoy being outside, however, and away from our computers, what has happened to our record stores has created an incredible inconvenience (FYI - I eventually had to go to a Target to buy the album).
Let me take a second to flip things. Imagine if we lived in a world where the MP3 came first. The only way you could get music was to download it. This is the world major labels, and a lot of artists and critics, think we’re heading towards; a world where the physical product does not exist.
With that as the setting, picture yourself out at lunch with some friends. You’re having a discussion about music and one of your friends tells you about a great new artist they’re excited about. In this world of MP3s you’re going to have to jot down the name of the artist, go home, and download the album. Wouldn’t it be nice to be able to just walk a few blocks with your friends to pick up that album? How great a convenience would that be? You could continue hanging out with your friends, have the album, and not have to worry about doing anything when you eventually arrive home except enjoy the music.
Or how about this; you’re at work, you hear a song, you want the album. You’re on your work computer, though, and it doesn’t make a lot of sense to download it there. Imagine if there was a place you could go during your lunch break, or stop off at on your way home, where you could pick up the album. You wouldn’t have to go from being logged on at work for eight hours to immediately logging on again at home. There would be no waiting for your purchase to download. In fact, you could open up the music and play it in your car!
Wouldn’t it be a radical and amazing prospect to have a place like that, and a format like that, for music?
The point I’m not so subtly getting at is convenience is relative, and I feel that it would be nice to not have to be logged on to do some things, one of those things being purchasing music.
When the major labels decided to combat illegal downloading by undercutting themselves via iTunes, offering up singles for 99 cents when they had cost upwards of three dollars when they were on cassette (cassingle for those want a little flashback lingo) and CD, they didn’t just point a loaded gun at their own collective foot, they pointed one directly at the record stores and the consumers who spend significant amounts of time away from their computers, as well. They created a pricing plan for downloads that wasn’t just competitive with the CD, but drastically beat the CD. What the major labels forgot, however, was that they weren’t in competition with the CD. The CD was, and still is, their product, just like the MP3.
Album sales are at an all-time low right now. I think there’s a chance it could partly be due to a significant number of people not finding the way labels are selling music quite as convenient as the labels assume it to be.
Stat Quo is a name most people in hip-hop are familiar with, but how many would recognize the man if they saw him walking down the street? According to Stat Quo, “a lot of people don’t have no idea what I look like.” This is something he’s actually learned to embrace, although things were a little different a handful of years ago.
Back in 2003 Stat Quo signed to Interscope Records and was heavily buzzed about around the same time The Game was was starting his ascent to superstardom. His album, Statlanta, kept getting pushed back, though, and in 2008 he had finally had enough and left the label to do his thing independently.
Now signed to Sha Money’s Big Dream Ventures, Stat Quo has a new outlook on the music industry, and this spring Statlanta is going to finally see the light of day. I caught up with Stat Quo while he was on the set of a commercial with Dr. Dre and found out more about his new outlook, as well as a little bit about Statlanta, a little bit about Detox, and why he’s perfectly fine not being recognized everywhere he goes.
Some people call it nu metal, some call it rap-rock, still others call it rap-metal. Bassist Ahmed (pictured far right) has a slightly different title for the music he and the rest of Game Rebellion make, “I call it Riot Music.” Guitarist/vocalist Yohimbe (pictured far left) seconds this, adding “we are artists, and collectively, like all artists, we have some concepts, energy, love and experiences to share. It’s because of who we are that our sound comes out sounding like a rumbling avalanche of mammoth skulls.” And that rumbling avalanche of mammoth skulls happens to embody everything that’s great about the nu metal genre as Game Rebellion covers a full range of emotions and topics with their music. From politics, to ideas of self, to the occasional party jam, their upcoming EP, Sounds Like a Riot, shows Game Rebellion are intelligent headbangers with lyrics that are on point.
The rest of Game Rebellion consists of (from L to R in-between Yohimbe and Ahmed) keyboardist/vocalist Emi, vocalist Netic, and drummer Aaron. All of the members cut their teeth working as session musicians, producers, songwriters, and members of house bands from coast to coast. This week I caught up with Ahmed and Yohimbe to find out more about the group, why they’re rebelling against the game, and what their thoughts are on combating some of the negative stereotypes of nu metal. They also surprised me with a couple of crazy stories, relating the time they took over a stage from a signed artist, and an incident when a fan caused a near death experience for one of the members of the group.
Adam Bernard: Start me off with the Game Rebellion story. From what I hear it’s a wild one. Yohimbe: In the beginning, It was me on guitar, Ahmed on MPC/vocals and Netic on vocals. We were hired to back up a group at Irving Plaza. We set up our gear and were about to play with the group when the label for the headlining act brought a group signed to them to the stage and said that they were gonna perform and that our set was cut. Me and Netic were like, "F*** that." I started playing and Netic started getting the crowd hype. The place was packed. This musician that was hired to play with the same group as us jumped on the keys and started jamming. It was a take over! That piano man was Emi. That's how we met him. They cut the sound, but my amp was plugged into the stage, so they couldn't turn off my amp. I kept playing and Netic went to the front of the stage and was just screaming at the crowd. The other band that was supposed to play was standing there with all their gear. The terrified security told the label and the band that if they want us off they’d have to do it. That really put the battery in our backs and that has been our overall theme since; do for-self, support your brother, and kick ass.
Adam Bernard: That’s awesome. So tell me, why are you rebelling against the game? What did the game do to you? Yohimbe: The Game is the life we live while seeking to compete and participate in the US of A. If you play well, you live. If you make the wrong moves, you don't live, or don't live too well. The rules for the game differ based on what piece you are and what pieces you have. Some are born with chance cards, or get out of jail free cards. Like in any Game, people have to strategize their lives based upon their circumstances. We are Rebelling against the game because it’s winning and the house is getting all the profits. People are losing everything in a Game they don't know they're playing and don't know the rules to. It's time for us all to reevaluate the accepted truths about who we are, where we are, why we are here, how we got here, where we came from, and what we can do. Things are not OK in the local, or the global, not even "home-al" communities. Things are the way they are because of things done, or being done, by us, by others, by them. The Game has forced me to focus on survival as opposed to living. The Game has made us barter and spend our best efforts for mere access.
Adam Bernard: I know some of those ideas are your on you upcoming EP, Sounds Like a Riot, so let’s talk a little bit about the album. When someone listens to Sounds Like a Riot is it going to inspire them to, well, riot? Yohimbe: It will inspire listeners to think, move, rejoice, be appalled, feel alienated, throw something, vomit, feel a sense of homecoming, get angry... that all sounds like a riot to me. Ahmed: I love to hear when someone says that our EP brings them inspiration. As an artist, I cherish inspiration, so that's a great compliment. This EP may inspire you to work out, dance, cook more, think critically, question status quos... As far as a riot... I wonder...
Adam Bernard: To go with the riot music you do have a party song, “Dance Girl,” on the album, and “Blood” could be considered a party song. Is this just evidence that you can’t be serious all the time? Ahmed: I think it is. There always should be an effort to achieve balance. Being serious all the time can’t be good for you. Your body will suffer. Life is not going to be one thing. Chances are you are not good at just one thing, but good at several things. Even the greatest warrior can enjoy a good party and it’s important that he or she is able to. We as humans possess infinite possibilities, so it would be a terrible crime to neglect even one aspect of yourself, or of life itself. I think this approach can come in very handy as a musician/artist. It builds great versatility and unpredictability. You definitely want those tools as an artist.
Adam Bernard: There are some negative stereotypes that have developed regarding nu metal, the two biggest being that the lead vocalists aren’t as lyrically adept as traditional emcees, and that the lyrical content isn’t that good. How does knowing that these assumptions are out there affect how you write and create your music? Ahmed: I am familiar with the said assumptions and there may be some truth there. I'm sure the answers of the rest of the fellas may differ, but for me it really has little to no affect to my/our creative process. In this band we put so much pressure on ourselves as musicians to create something extraordinary, natural, and not corny. It’s a huge emphasis. It's important when you are writing music that you start with a clean slate and see what the moment gives you as your emotions inspire you. You also want a song to sound natural, and not forced, or contrived, especially when you’re dealing with fusing two or more genres. We are very careful not to sacrifice the rock side of the music or the hip-hop side of the music, or any other genre we may dabble with for that matter. The bottom line is, guitars got to be rockin, bass got to be thumping, drums got to be pounding, vocalist has to be wailing, keyboards have to be thick, and songs have to be memorable. This is more or less the approach we as a band take when we write our music.
Adam Bernard: Finally, other than taking over the stage from a signed artist, what’s the wildest, or weirdest, thing to happen at a Game Rebellion show, or in the Game Rebellion tour bus/van? Yohimbe: The craziest thing happened in London after we played at Outkast's party. One of our members and one of our crew left with these two ladies. The girl driving, I guess, was drunk, and she wrapped around a pole three blocks away. One of our brothers lost his spleen, his heart came out the heart bag and a lung was pushed to the other side. An instrument was flattened. Our band member got a concussion and stitches on his head. His head was swollen like a helmet, and he still found another woman the next night. The dad of the girl who was driving found out his daughter was a wild girl and "loves the boys in the band."
Whether you go all the way back to when he went by Bisc1, or you just got into his music after he started going by Bisco Smith, if you've heard the man's music you know he's dope. The video for Bisco's latest single, "Vibrations," is a masterpiece, and I don't use that word very often. It's so visually stunning, while still being in black and white, that it easily qualifies as one of the best videos I've seen in a very long time. The combination of live action and artwork, and the not so subtle nod to Bisco's past love, make for a video that's truly a can't miss.
There is a pandemic sweeping our concerts and nightclubs. It doesn’t matter where you live, or what event you go to, you’ll see it. In fact, you may have been affected by it already. The problem - people thinking they’re too cool to have fun.
A couple of weeks ago I was at Mercury Lounge in the city to see Blockhead, DJ Signify, and Machinedrum (the latter is pictured above). You’d figure with a group of artists like that performing it would be a sweaty dance floor filled with people moving to the beat, or even not to the beat if they're rhythmically challenged, like myself. Confusingly, the vast majority of the paid audience, and it was a totally packed house, was rooted to the floor. Only a dozen or so people were dancing, or bouncing, or even moving the top halves of their bodies. Instead, most everyone was watching what was going on on stage. The only problem with that was, nothing was really happening there.
Don’t get me wrong, the artists were fantastic, but if you’re in the audience for a show where the only instruments are turntables, a drum machine and a laptop, there isn’t much visual stimulation going on. These are situations where it’s really all about the music and I don’t know how people can claim to appreciate the kind of music that was being played, and being made, on that evening, without showing it in their body language.
This certainly isn’t the first time I’ve seen a crowd not move despite the music being awesome. A couple of years ago I went to see Paul Oakenfold spin and only a handful of people in the packed house were moving. We’re talking about a legendary DJ performing to the best of his abilities and the best the crowd could muster was a visual interest.
People, please realize, when a DJ is spinning records he, or she, isn't doing it so you can watch them, they're doing it so you can MOVE.
I know, moving can be a scary thing. What if you’re not on beat? What if someone thinks you look crazy? Those are fears people have ingrained in them. Heck, I'm not immune to them. But here’s a better question; what if you didn’t care about any of those things and just moved however you were inspired to? If you’re resisting the urge to dance, sway, jump, or bounce, not only are you not having the best possible time you can, but just think of the poor DJ on stage who’s working his butt off only to see a crowd of glazed over faces looking back at him or her.
Recently I watched an interview with a former rocker turned children’s artist named Dan Zanes (which you can see here) where he was asked who was a better audience, adults or children, and he didn’t even have to think before he said children. His reason - they’re uninhibited, and as we get older we gather those aforementioned inhibitions that prevent us from jumping around when we hear music we like.
If you really think about it, that whole “I’m so confident” air many people like to try to create when they’re at a show, or a nightclub, that whole “too cool for school” attitude that keeps them holding an expensive drink rather than dancing to the music, is really a total lack of confidence. If they were truly confident they wouldn’t care what anyone thinks and they’d be shaking their asses.
So the next time you’re at a show, or a club, and the DJ is killin it, show some appreciation by having some fun. That’s what he, or she, wants to see, and once you realize nobody else in the place matters except for you and your friends, you’ll have a far better time than the people who are trying to act cool.
Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Bon Jovi visiting Skid Row (the area in LA, NOT Sebastian Bach’s home studio), to Jennifer Lopez finding herself a little closer to being back on the 6 than she’d like, to Michelle Trachtenberg’s hip-hop inspired trip through the Holland Tunnel, and since it’s Pop Shots you know everything is seasoned with a little bit of attitude.
One is a band that has the ability to make you crap your pants, the other is an R&B trio that can set the mood for just about any evening. Both are artists who sat down with me recently for Diamond in the Rough features for 101Distribution.com.
To find out about Oklahoma-based electro metal band God In A Machine and why nudity can be an unwelcome thing - click here.
For more on fun-loving Cali crooners Trey Smoov, including the story of what led to their forming the group in a hospital - click here.
Not a lot of artists could make the jump from the world of mainstream hip-hop to one of the most respected homes of indie scene, but that’s exactly what Freeway did when he went from Rocafella Records to Rhymesayers. Freeway’s always been a thoroughly respected emcee, which is why it wasn’t too much of a shock to hear his name associated with the label that’s home to Atmosphere, P.O.S. and Brother Ali. Heck, were it not for the fact that he isn’t from Minnesota it would seem downright natural to hear him shout out Rhymesayers in his trademark gravelly growl.
Freeway’s latest release, the critically acclaimed collaboration with Jake One titled The Stimulus Package, has the hip-hop world in a frenzy and this week I caught up with him to find out a little bit more about the project. During our conversation Freeway also opened up about some of the other things he’s been working on, what he feels the public’s perception of him is, and why he’s still good with Kanye West.
Most emcees like to brag, but not Albany’s Oddy Gato. “Hip-hop is not just a guy grabbing a mic and saying I'm the best, I’m the best,” he explains, “it’s about other people saying ‘this motherfucker is really good.’” Over the years quite a few people have been saying Oddy Gato is really good. His goal, which he says should be the goal of every artist, is to make listeners question what is going on. “A real artist’s job is to step outside the norms of society, of the dominant culture, to challenge everything, and to challenge people to see things in a different light.” Living by that ideology it should come as no surprise that Oddy Gato once performed with Immortal Technique at a Free Mumia concert in Philadelphia. He also recorded in J-Live’s home studio with both J-Live and Rashawn Ross, a trumpeter and arranger who tours with Dave Matthews Band.
Backed by producer Lo-Fi LOBO and DJ TRUMASTR, Oddy Gato is extremely pleased with the work he and his team are creating, even going as far as saying “if anybody has a problem with the music that we’re making, not only am I nice with the microphone, I have the hand sills of a vicious puma.” This week I risked the possibility of incurring the wrath of Oddy Gato when I caught up with him to ask him about his music, why he feels it’s better to be odd, and the reasons why he loves calling Albany home.
Adam Bernard: Start me off with a little history. Who is Oddy Gato? Where are you from and what made you the man and the artist that you are today? Oddy Gato: Oddy Gato is my alter ago. I’m a living encyclopedia of hip-hop culture, connoisseur of fine cannabis, born and raised in the Southeast section of The Bronx. That made me aware of the world. Brim and Tat Crew was king. Crack explosion, police raid the weed spot, dreadlock Rasta handcuffed to the Pac-Man machine. That’s my worldview. People blasting the boombox right there on the corner, people just straight up breakdancing. My uncle was a DJ. He was spinning hip-hop in the house, along with dance music and funk, and it just had an incredible effect on me. I would hear Slick Rick inside the car. My stepdad was on a mission to make me and the whole family go deaf before I hit ten years old. He used to play that shit as loud as he could. You couldn’t escape it, so hip-hop is in me.
Adam Bernard: As someone who knows a little bit of Japanese, I know “arigato” means “thank you.” Is that part of the reason you’re Oddy Gato, or is there a completely different meaning behind your name? Oddy Gato: I was trying to go for a name like Daddy Yankee, but he got it before I did. Just kidding. Oddy Gato’s first words into the world were thank you. He said them to his mother, and that’s what it means in Japanese. People would always say I was a strange cat, so I took the arigato thing and flipped it as a double entendre.
Adam Bernard: Why is it better to be odd? Oddy Gato: It’s better to be odd because I don’t like boring ass people. They coulda put me in all kinda smarty ass schools and I coudla been a doctor or a lawyer, but I said fuck that. They used to call me the oddball, that was way back. Strange cat. Crazy bastard. Crazy Ralph. I never really tried to be different, I just am.
Adam Bernard: Last year you released an album titled Oddzilla. Other than simply “you,” what were you looking to showcase on Oddzilla? Oddy Gato: There’s a lot of comedy, a lot of war stories, and just the art of storytelling and really being real to how we speak. That’s how we talk, it’s just crazy, wild, and it’s so rich and exciting. I felt like I had to record it and let other people know. I’ve been up here (in Albany) for the better part of a decade and I hadn’t heard anyone sound like what I want to hear, so I said let me just record myself and see what it sounds like it. The next thing you know we’re riding around in limousines with clubs in the back of them.
Adam Bernard: On the album you seem to have equal parts fun and importance. How difficult is it to maintain that balance and not slip into just one mode of thinking/rapping when you’re writing? Oddy Gato: I like all different kinds of writing. I like comedy, horror, suspense, drama, fiction, documentaries, I like all these different forms of mediums as far as telling stories and I definitely want to express that. Life is serious, and then life is funny. Just like how life is and how people are, all these different kinds of ways, I want to express that through the music so it never becomes stale or redundant. I’m just trying to spice it up. There are too many boring people. To really go across the galaxy of emotions and really experience everything you gotta go out on a limb and people might say “oh he’s not hardcore! He’s not gangster enough!” and little do they know I’m one of the few people that can actually say they’ve had an all out UFC competition fight in a fucking public library. I’m nice with the skills, (but when it comes to the music) Dres from Black Sheep broke it down. He was like, I used to sell drugs, but do you hear me rappin about it in my songs? No. What the fuck does one thing have to do with the other? Be fucking creative, man.
Adam Bernard: Speaking of creativity, there are a million rappers in the game, or at least it sometimes feels that way, so how do you deal with this emcee overcrowding? Oddy Gato: I don’t really care about all that. That shit don’t faze me. A lot of these wack dudes are just making me look better and better every day. For every one good rapper you got about, what is it, 500 wack ones? But who am I to piss on someone else’s dream? I just try to raise the standard of what is acceptable from these million and one rappers hoping that they will say yeah, we can’t just be making bubblegum music no more. I challenge the status quo. We make classical masterpieces come alive from out the hood, from the industrial waste, sludge and toxic runoff that runs into the river. We sift through it and we find the gold. That’s what we’re bringing to the earholes of Americans and people world wide. We’re straight butter from the gutter.
Adam Bernard: “Straight butter from the gutter.” Love that line! Now, before I let you go, I have to know, how do you connect with other artists when you’re in a spot that isn’t exactly near a major scene? Oddy Gato: I’m usually in New York City, Philadelphia, DC, Miami, San Juan, I’m always on the East Coast for the most part. On any given Sunday you’ll find me in any of them cities, but I always keep coming back because of the thriving music and arts scene that’s slept on here in Albany, New York. A lot of my friends happen to be artists in music and in the visual arts and I’m proud to be residing here at this time. It keeps me coming back to the home of Mohican, and of bootlegging and Legs Diamond and all kinds of other underworld celebrities.
B-Listers are a select group of artists that were featured in my Artist Of The Week series that ran every Monday from April of '06 to April of '11. All of these artists have two things in common; extreme talent, and a flight path far too under the radar for my liking. They took on the title of B-Listers as they embraced being featured by me, Adam B. Check out the AOTW Archives for all the interviews.
To find out about the singer who's shared stages with Bobby Valentino and Joe, and the time a fan went a little too far to get his attention - 
For more on the Canadian artist who spent time at the top of his country's Billboard charts, and why he wants his music to cross the border - 
To find out about Oklahoma-based electro metal band God In A Machine and why nudity can be an unwelcome thing - 
For more on fun-loving Cali crooners Trey Smoov, including the story of what led to their forming the group in a hospital - 
