Independents Day
Independents Day is your one-stop online resource for the latest in
exclusive interviews, mixtapes and album releases. To be featured
on Indie Planet's Independent's Day, email
indieplanetmail@gmail.com for submission guidelines.
Bartow, Florida's own Riskay the Drama Queen truly does things on her terms. After putting in work consistently over years on various mixtape releases and leaking her own material, the hard work paid off when her single, Smell Yo Dick got the attention of celeb blogger, Perez Hilton which lead to a whirlwind of opportunity and deals on the table.
This exclusive interview covers her life, times, struggle, and hustle. Enjoy.
Riskay the Drama Queen Audio
Indie Planet Exclusive: Jahi: The Next Level
Written by: Todd Davis, IPTV Staff Writer
Ten years in anything is a huge milestone, and veteran Cleveland, Ohio, by way of the San Francisco Bay Area, resident emcee, Jahi, is celebrating this landmark event with the release of his 7th studio effort, Less Is More to be released on indie label Slam Jamz
TD: When did you first become interested in the pursuit of Hip-Hop?
TD: Growing up, who were the artists that you favored? JAHI: Uh…You know, Um…I’ll have to say Run DMC, just because how big they took it. What Jay Z is doing right now, Run DMC did that in the eighties. So, definitely Run DMC, Rakim, KRS, you know. I have to say those, and then…But, I also have to say The O’Jays, (The) Commodores, The Whispers, Curtis Mayfield, James Brown, because I grew up in a household that soul music was more important than the television, you know, so… TD: You winded up migrating to the West Coast, the Bay Area to be exact -- What prompted this move?
JAHI: Well, you know, The Bay…Initially there was a brother by the name of Tony Coleman (who) was doing a movement called the Third Eye Movement. They were doing some protests and actions, community actions, against Prop 21, which was the building of more prisons out here in the Bay Area, and I had a song called ‘Power Moves 2000’ that Davey D, on KPFA, had just really (been) blowing up and playing, and Tony Coleman got a-hold of my CD, man, and just invited me out. I had never been out to the West Coast, and we did a community concert in (Crissy) Field Park in San Francisco, and I really fell in love with The Bay, man. I like the weather, the independent energy, the community activism, so it all kinda spoke to me. And, you know, man, it really was a leap of faith. You know, I knew I wanted to…I was still in the East Coast, (and) I was still doing music and pursuing some things in the East Coast that I knew I wanted to change.
I knew I wanted to position myself in a place where I could, if I was gonna remain an independent, socially conscious, Hip-Hop artist, I wanted a platform and a place to be able to do that, and The Bay was very conducive to what, you know, my musical goals (were). And then, just for me, personally, it’s a leap of faith.
I came out here and I had an album called Window of Opportunity that I was selling while I was out here, and then things just kinda progressively took off. What I did was I just hit a lot of open mics. Java House is definitely, you know, Dwayne Wiggins’ spot, Java House, is definitely one spot that kinda confirmed for me that I was in the right place, at the right time, with the right type of music, ‘cause it was just such a great response there, and that started off The Bay. TD: How do you categorize your sound?
JAHI: You know, right now I’m calling it organic Hip-Hop, soulful vibes, and conscious music, and I say “Organic Hip-Hop,” because, you know, it’s like, “You can buy bananas from Safeway and they cool, but if it has the organic tag on it (that) just makes you understand that maybe it was some extra care put into that particular product, or some fresher fertilizer went into making it,” and I think that really describes the type of music that I’m doing. Because it’s like profanity free, it’s really uplifting, it’s talking about images and landscapes in Hip-Hop that sometimes don’t get enough visibility, it has some integrity to it, you can still dance to it (but) it’s not freaky. So, I definitely would have to (say) the organic Hip-Hop is what’s been sticking mostly to the label of what I do as far as music.
TD: How come it has been so important to you remaining an independent artist?
JAHI:Well, you know, my last release was actually released on a major through EMI, but I was out of the United States. It was in Denmark. So, I did release one album on a major, and, you know, quite honestly I set out to see what was happening in the market-place, find where I could kinda either blend in or stand out, and just make good music. I never said that I’m just gonna be an indie artist and forget the majors, or I didn’t say I want to be on the majors and forget being indie, I just set out a course to create bodies of work that I thought were quality, had purpose and meaning, and I’ve been open to all different roads of (opportunity). I think every artist wants to get their music out all over the world, so it wasn’t that I was against majors or tried to stick to be indie. The fact that I remain indie, I feel there’s a lot of advantages to being independent. You have a little more creative freedom and control, but there’s pros (to it)...Now that I’ve released a record on a major label, I could say there’s pros and cons to each. If you’re an indie, there (are) good things and there (are) challenges. If you’re on a major, there (are) great things and then there (are) challenges as well. What I’ve tried to do in all of this business aspect, is to make sure that at the end of the day I’m making quality music, and try and be as creative and as open as I can be to make sure I get the music out to as many people as possible.
TD: Why did you decide to title this release, Less Is More?
JAHI: Well, you know…A couple things. One, I think a lot of artists are making albums with 17, 18, 19 tracks. It’s like, you know, on a first date, don’t tell me everything. Don’t give it all (up). It’s like, man, you know, it’s like, way too much I think. And, even with as much as I love some major artists, I think that we’re in a digital age, everything is moving fast, it’s new albums coming out every five seconds, MP3’s are the new 45’s. It’s just a constant bombarding of images and messages, and I think in Hip-Hop some emcees just go overboard with it. So, I figured I would do the opposite. You know, I come from, you know, just again, the school of Hip-Hop that I come from is, you gotta be aware of everything that’s going on, but then after you see that, you have to be original. You have to find your place, (but) you can’t copy. You have to find your own style. So, I’ve been seeing a lot of people going overboard on their album covers and artwork, with super color and diamonds and bling bling, so I said, “Okay, my cover will be black & white.” A lot of people putting 18 19 songs, (and) I got 7 songs. It’s straight to the point, real beats and real rhymes, no filler tracks, you know. And then, also, it’s a subliminal message, ‘cause less is more can be used in a lot of different ways. You know, less using of the electricity, more opportunities to have a better earth. You know, less driving, better for the environment. So, I can take…That title is significant of my record, but it’s also a subliminal message that I’m allowing people to put their own meaning behind it, too.
TD: How does the new album differ and/or compare to previous Jahi projects?
JAHI: I just think it’s a continuation in the spirit of Jazz artists, which I study and really respect. You have to continue to create bodies of work, and I think this record…Sometimes people say, “This is the best record I’ve ever made.” You know, I’m not gonna say that. I’m just gonna say that I’m a musician, I’m an artist, I’m an emcee, and I’m true to that, and this is just a continuation of my journey in music. I’m really happy with this project because I think it’s very cohesive. I was inspired by just being back in The Bay, ‘cause I had moved overseas to Europe for a couple years and released music over there, and (it) proved that I wanted to come back to the states. And, just being back here and everything, getting back to that signal of organic Hip-Hop, everything happened organically; (from) the musicians, the tracks, (and) the songs. Everything just kinda happened in such an organic form, and it’s a new continuation. And, I think that people who appreciate my music, who have somehow someway found out who I am and what it is I do, I think they will appreciate it, and it feels good, it feels good.
TD:Being that you are celebrating a decade in music this very year -- What has been the secret to your successful career?
JAHI:I think, you know, the key to my longevity is just no matter what, I just don’t give up, man. I think that self determination, you know…I’ll say this, man, Bob Marley was 36, and then when he passed he had 13 albums. That gives…I think about that a lot because…And in those 13 albums, 5000 years from now somebody’s gonna be playing a Bob Marley song. So, just to be able to know that there’s been musicians before me, shoulders that I stand on that have created music that can stand the test of time, I believe in that, I feel that. So, I think that kinda goes in my work ethic of what style, and what kind of music I’m gonna create, and speak about topics and issues that years from now people can still appreciate. And then, you know, just quality music, man. You know, I guess, sometimes, you really can’t speak for your longevity. I just…I’m celebrating ten years of Hip-Hop this year, and when I look back if I had to say one word that describes, like, why I’m still here still doing music, it’s just faith…Faith, man.
TD: Are you planning any other outside business ventures?
JAHI: Well, you know, the other aspect I think of recording music that’s becoming a lost art is live performances. So, it’s kinda the extension of this music is that I’m really gonna concentrate on one particular area and cover it very well. I’m in The Bay, I’m in California, so if I have to say branching out, it’s taking this music off a disc or, I guess, off an iPod, and bringing it in front of people live is the next thing and creating this experience. I want people to leave shows like, “Wow, that wasn’t just another rapper spitting, it was an experience. It was meaningful.” And then, I work in the community, man. I work at a youth center. I work with youth. I want to continue to do that. In the next five years, I hope to be able to open up youth community centers in a few places that focus on Hip-Hop history and culture, technology, and life skills, and those types of things, you know. Yeah, as much as I have some other ideas, I think right now I’ve had this renewed love with music, so I think there’ll be a lot more within the music that I will do. Instead of a lot of people, it’s the normal thing, “I’m gonna try to act, and do this and do that,” and those things are cool, but I think that where I’m at right now, I think the extension of this particular project just will be more music. You may catch me playing bass in a Go-Go band in DC or something like that. You never know.
TD: You are also working on your very first book, correct?
JAHI: I do have a book called A Journey in Hip Hop - Volume One, and there will be a couple volumes coming out. The first volume has the Public Enemy experience, the Blackalicious experience, and then Destination Copenhagen. And, it’s kind of a musical memoir of my travels and my experiences, because I don’t think a lot, you know…The one thing I will say is that I don’t think a lot of people who are independent artists, without attachments to labels and those types of things, have been able to perform, for example, at Wembley Arena with Chaka Khan and Mary J. Blige. I don’t know a lot of people (that) can say that, and I think all too often we don’t tell our stories. So, there will be some books coming out. It’s called A Journey in Hip Hop - Volume One, (and) that’ll be out later on this year, and then there will be subsequent volumes coming out 2009 and (so forth).
TD: What would people be most surprised to know about Jahi?
JAHI: Um…You know, that I care -- I care about life, I care about world peace, I care about the environment, you know. I care about people coming together in peace. You know, I think you will hear that in my music, but even outside of my music (that’s) the type of person that I’m trying to live my life (to be). If I could motivate and inspire anybody just by living, living positive, living in a holistic kinda way…People may catch that, they may not catch it, ‘cause I like to have fun and party in my music as well, but I think at the end of the day that defines who I am, the kind of person (I am).
TD: What do you like to do in your off/spare time?
JAHI: Probably playing chess, you know, reading a good book, you know, kicking back. I mean, if the sun is out, you know, just taking time to appreciate the fact that…Going back to The Bay, I mean, we in the Bay Area. People save up all year so they can come to places like this, so they can have a vacation. Take advantage of the beauty that’s around me. So, you’ll definitely see me doing that.
TD: Today’s Hip-Hop, how do you best sum it up?
JAHI: You know…I have to say this, number one, the word Hip-Hop, when people say Hip-Hop music it has become so ambiguous that I have to say the same problem still exists, and it’s an issue of imbalance. If you, in terms of the diet, if you eat potato chips and pop all day everyday, I mean, that could be your diet, but it’s not a balanced diet. So, in turn, your body is gonna be affected by what you eat. So, I’ll apply that to Hip-Hop, that…I love Hip-Hop, I am Hip-Hop, I do Hip-Hop, but there’s a huge imbalance in terms of the messages and the images, and the artists that we see. And, until there is balance, there will always be problems. And, even in those problems, I still love and I’m a part of it. But, you know, again, what I do is organic Hip-Hop, what I do is socially conscious Hip-Hop, what I do is…I do Hip-Hop that speaks to women without disrespecting them, and just looking at them as being sexual objects. The type of Hip-Hop I do is motivation music. It’s rebel music. It’s, you know, liberation type music. So, when I think about that style of Hip-Hop, I’m excited because I know that there’s a lot of people that are in that lane that are doing great music, that just because we don’t see and hear ‘em on the mainstream outlets does not mean that we don’t exist, and that we’re (not) doing good work. So, in that particular aspect, I’m excited about Hip-Hop. In terms of like the mainstream, I just think, again, it’s a matter of balance. I mean, I’d like to see anybody try and walk around all day on one foot, you know, so…
TD: What is your biggest career high?
JAHI: Hmmm…Um…You know, I’ll just have to say this…You know, I was fourteen years old, man, and heard Run DMC, Rakim, and KRS and all these cats, and it effected me, man. And, the first time I picked up a microphone and realized that I had some oratorical skills. To be able to go from that moment to right now, and, you know, been able to see the world and perform on a lot of stages, and meet a lot of great people, I would have to say the culmination of all of that is the great experience. I couldn’t really pinpoint one thing. It’s the totality of my experiences that would be…I would have to say that the fact that I’ve been able to do those things, and without all of the things that people say you gotta have, “If you ain’t got a million dollar budget and all those types of things, you can’t get into the game.” I’m a living testimony that with determination and passion and, you know, challenging yourself and pushing yourself hard, man, dreams can come true. I’m living my dream right now.
TD:What does the future hold for Jahi?
JAHI: 5 years down the line, you’re gonna catch me taking these young emcees to task on stage! I mean, for real! You’ll catch me still performing. I’ll probably be talking to you about what I’ve done in the last five years in terms of projects that I’ve put out. I would also (say) in 5 years, at least two of the youth centers that I’m looking to establish will be functioning by that time. And, still being a continuation of this music, man -- Still on the journey, man.
TD: Do you have any parting words?
JAHI: You know, if people want to get in touch with me, they can check me out at: www.onefamspot.ning.com/profile/jahi. If they hit that link, they’ll get a chance to hear the music, read the full credits and everything, and, you know, that’s it.
[Less Is More out now available on iTunes, Rhapsody, Emusic, HMV Digital, Virgin Digital, Target Digital and Walmart Digital]
Presto Interview by: Mr.Shadeed
Mr.Sha: Many artists state that each album released marks a moment in time. What were your most memorable experiences in creating this album project?
Presto: This album was a long process. It took about 2 years to complete. Originally I was planning on just doing an EP. The first track I finished was Conquer Mentally.
It took a while to finish that beat because the sample was really hard to chop. Once I finished the beat then I had DJ Mino lay the scratches on the hook parts.
Sadat finished the first verse, then O.C. At that point I was looking for someone to do the 3rd verse. I did a gig with Large Pro in Brooklyn at my friend Moe Choi's event. I played the beat for Large Pro and he said he was down to do the 3rd verse and also a remix.
After that song was done, I just kept finishing songs and I decided to turn it into an album instead of a EP. Some of these artists I grew up listening to, so for me this album definitely leaves a mark in time.
Mr.Sha: Your sound is reminiscent of the golden era, but I feel its definitely pushing the game forward and sounds fresh and new, when you're in the lab creating production are you looking for a certain sound or do you allow inspiration take you in the direction that lead to the current release you're putting out??
Presto: -I'm always inspired by the golden era because that is the stuff I grew up to. When I first started DJing in high school I was playing Tribe Called Quest, Pete and CL, Pharcyde, De La Soul, and other stuff from that time. I absorbed that vibe, so naturally when I started making beats in 1996 I was on that vibe but with my own sound. When I'm making a beat, sometimes I have a certain sound I'm looking for and I'll go through my records. A lot of times i'll come up with a sample groove and play some keys or something over it to change it up and add some feel.
I usually like to start with the hi hat and build the groove, then the bass and drums. After I come up with the hook, then I can remove some of the sounds to make the verse parts.
With State of the Art, I was definitely going for an all vocal album. I always liked hearing albums like Soul Survivor where it would be different vocalists over the same producer’s beats on one album.
On State Of The Art, I used a lot of synths with the ASR-10 keyboard so it gave me a little bit of a different sound than my albums Magic LP and Inflight Instrumentals.
Mr.Sha: With the release of State of the Art, what artistic statement do you wish to make?
Presto -I want to give listeners an option of other hip hop they can hear other than a lot of the same sounds that are out now. Hip Hop used to have a lot of different styles out. There's good music out now but there’s also a lot of garbage. It sounds like some producers aren’t putting that much of their soul into it anymore.
Read the rest at the link provided:
http://iplanethiphop.ning.com/profiles/blog/show?id=2042258%3ABlogPost%3A3768
The GRIT Boys - Exclusive Interview by: Carlton Haynes
It's always a good idea to judge people by the way that they look, right? Well, it turns out that once-infallible methodology may be kind of, well, wrong. At first glance, the GRiT Boys appear to be more of the stereotype-reinforcing thug rappers who are strangling hip-hop's originality to death, when in fact they are quite the opposite. Smart, well-thought-out and clever lyricists, the GRiT Boys are vanguard rappers looking to rebuild Houston's reputation as a hotbed of innovative artists.
GRiT Boys: Combating weak shit when not enjoying Rice Krispie treats Subject(s): GRiT Boys, Ghetto Reality in Texas, Houston local musicMake no mistake: Houston has a sound. It always has. It's that slow, aggressive bump and confrontational bang. Now, it appears a new breed of Houston music is bubbling up that's fresh, provocative, real and available on the GBs' brand-new CD, Ghetto Reality in Texas. The Chef recently sat down with Scooby, Poppy, Unique, their producer Todd and the rest of the GB team at the Sound Check Music Complex to get the latest from the streets.
The Chef: You guys have been rapping for about seven years. One of the most interesting parts of rappers is what they do when they aren't living the fantastic life of being famous thugged-out gangster rappers. Like, do gangsters enjoy ice cream and playing ping-pong or whatever?
Todd: Not in that order. Poppy: Well, I don't know about everyone else, but I like Rice Krispie treats.
The Chef: That's so badass. That should be your next CD cover. Does everyone have daytime jobs? Unique: We all have daytime jobs.
Todd: It's the reality of the situation. A lot of people watch TV and think the rap game is all sweet. We work hard. The Chef: So what does everybody do?
Todd: ...Scooby? Scooby: Shiiiiit. Unique: [Scooby] is a cable man*, I lay carpet and [Poppy] works at a tennis shop. (*Scooby later explained that he is not an actual cable man. He works with the cable receiver boxes; he doesn't actually "knock on doors and shit.")
The Chef: A tennis shop? Like, Serena Williams-type tennis? Let me get this straight — rappers eat Rice Krispies treats and play tennis?
Poppy: I work in shipping and receiving in a tennis shop. I ain't never fucked with tennis a day in my life. Scooby: What's crazy is that work reality just set in. At first we was just bullshitting. Broke. Thinking some shit was just gonna come to us. All these niggas is lying sayin' they got all this money. That shit is dumb. I have no problem working. I got bills to pay, feel me.
The Chef: So talk about the sound. It's not your typical Houston stuff. It's more introspective. It's complicated. The structure is still there, but it's a new feel. Slightly East Coast digitized with Houston swag minus the thuggery. Is that something that you made an effort towards?
Scooby: We've just always been dope rappers, regardless.
The Chef: That's the best answer, ever.
Todd: It's a streetwise feel. Someone who knows the dope dealer can sit with the dope dealer but ain't a dope dealer. Someone who knows a pimp can sit with a pimp but ain't a pimp. Unique: It's just talent. We put thought towards reality. No swangin', no bangin'. Todd: The mentors, too, they played a part. Hawk, Lil'O. If you ever listened to their material, they were always trying to do a well-rounded album. That rubs off on you.
Scooby: That boy Hawk was our biggest mentor. We was on the road with him. It was a process. The Screwed Up Click movement brought everyone to the light. Hawk took us on everything he was doin'. If he was performing he wanted five mikes, one for each of the GRiT boys, you know what I'm saying? He'd give us a nice chunk from the show, everybody eatin', everybody sippin' drank, everybody smokin' weed. That boy really showed us how to share. How to be real. Hawk did that.
The Chef: So gimme some juice. Who do you all hate? Where's the beef?
Scooby: You know what we really, just, really don't like?
The Chef: What's that? Scooby: Bitch-ass niggas.
The Chef: Pfft. Who does? Scooby: Nah, it's like, they wanna...they know you jammin', they know you hard, you know what I'm saying?
The Chef: Umm...not quite you tell me. Scooby: It's like, they know that you got everything that could make you bigger than them, but they don't wanna fuck with you because you could pass them up. But then they act like you still cool with them. They ain't your friends but you kinda gotta be cool with them 'cause you gotta see them people everyday. It's like your boss, you know what I'm saying? You could be the best worker, but he's gonna mess with you 'cause he don't want you to get past his position.
The Chef: So basically, my boss is a bitch-ass nigga? Got it.
Scooby: Ha. Nah, I'm saying, that's how niggas is. Todd: I 'll go on record and say that I don't like the Houston music scene. It's not sincere.
Chef: That's what I was curious about. Because from the outside looking in, it seems like it's love all the way around, like one big happy family.
Todd: No. It's not sincere. Scooby: There's certain...we ain't gotta say no names. There's certain rappers that are real and are cool, but all these other niggas is fake, so it's a relationship you gotta work. It ain't nobody specific, but there's certain niggas, they famous, whatever, you know what I'm sayin'? But they do little girl shit. They holla at you when it's convenient for them, you know, when they want you to do something. But then, when you try to get with them they don't hit you back. That ain't real, dawg. These famous niggas came from the same point you at, but they act like they forgot about that shit.
Todd: I feel like a lot of people go get in their corner and laugh and point fingers, like, "Ha, ha. I knew they weren't gonna do it." You know what I'm saying?
Scooby: Them niggas be doin' weak shit. Like, sayin', "Go get them" or "Don't use them" or "Put them on the radio." They be trying to hull us. They be doin' that to everybody. Todd: I don't think they're trying to just hull us. For some reason, people in Houston don't get that if we worked all together we would go a lot further. We need to make one big independent label. I help you, you help me. But it's gonna be hard to get to, y'know. But if we could do that, no one could touch Houston. So there go you people watch out for these boys they are up and coming in the world of hip hop nothing going to hold them down don't forget the name, The GRiT Boys.
I want to take this time to thank all these guys for spending time with me your boy The Handicapped Chef . The Handicapped Chef, Carlton Haynes is owner of Triple H Catering and Consulting service/ for more information E-mail us thehandicappedchef@gmail.com.
Our next feature for Independents Day will take us to Baltimore, MD for our exclusive interview with none other than Rock Mics' Head MC in charge Ab Rock . As an artist, Ab's sound and direction is probably more based in reality than the majority of other "new" artists that I've heard recently. From winning MC battles, to performing at Spoken Word events, to reflecting on his heritage and how that impacts his music - this interview has it all.
The interview was too good to transcribe, so our viewers will get over 30 minutes of the full interview.
http://www.zshare.net/audio/12904294839721b6/
p style="text-align: center;">
Besides being the new homes of hip-hop legends such as DMX and The Godfather Kool G. Rap, Arizona has had a few artists step out and make their mark, although that is beginning to change.
Enter Thaahum.
As an artist, Thaahum delivers a message, but is very "conscious" not to be tied in the rest of the "backpack rap" genre. As an individual, he is very complex with references to business books, movies, and the rare position of being a single dad, this interview has it all.
Full Interview (Audio) Posted Below:
http://www.zshare.net/audio/12910884d1434d2e/
Active content removed Active content removed Click here to get your own player.
The Planet also has "I'm Bout Money" set to enter rotation sooon. Hold ya head Baby D, hope those charges don't stick.
Blue Sky Black Death, the renowned production duo of Kingston & Young God, present their 4th full length release (and first instrumental offering), 'Late Night Cinema.' After two critically and commercially lauded releases featuring collaborations with Wu-Tang Clan affiliated MC's Holocaust & Hell Razah, Blue Sky Black Death strip their formula down to the essence with this stand-alone instrumental concept album. To date, Blue Sky Black Death have also collaborated with and/or produced for the likes of Guru (Gang Starr), Sabac Red (Non-Phixion), Jus Allah, Wise Intelligent (Poor Righteous Teachers), Rob Sonic, Virtuoso, Chief Kamachi, Holocaust, A-Plus and Pep Love (Hieroglyphics), Mikah-9 (Freestyle Fellowship), and Awol, amongst many others. Now, owing to popular demand and to showcase their unparalleled versatility, Blue Sky Black Death seamlessly cull together their vast and eclectic influences (which range from electro to classic boom-bap hip-hop) with 'Late Night Cinema.' An offering as bold as it is diverse, 'Late Night Cinema' substantiates Blue Sky Black Death's overwhelming acclaim as one of today's most promising production teams, and in so doing transcends both expectations and traditionally ascribed genre boundaries.
Yes, Indie Planet Lil'Mama - I personally think she is DOPE and is doing more for female MC's than any 5 that you can name right now.
OG Ron C and DJ Khaled I'm So Hood OG Ron C and DJ Khaled show off their talents in their latest mix, 'I m So Hood'. As two of the best DJ s fully recognized in the south, they are on the heels of winning an award for the best mixtape of the year at the Southern Entertainment Awards. They have gone from behind the scenes, to mixtapes, to killer compilation hosts, all the while keeping ears to the street and their names in the game. 1. DJ Khaled Intro (DJ Khaled) 2. I'm So Hood (Trick Daddy, Rick Ross, Plies) 3. Duffle Intro (Playa Circles, OG Ron C, DJ Khaled) 4. Duffle Bag Boy (Playa Circles) 5. Duffle Gizzlemix (Lil Wayne, J Dawg, Slim Thug) 6. DJ Screw Ride Out (OG Ron C) 7. Ride On 4's (J Dawg, Slim Thug) 8. Goin Crazy (2 Pac) 9. See Me Flossin (G.F.C., Pimp C3:22) 10. Pass Me The Weed (Master P) 11. Like What I Got (Mike Jones) 12. You Ain't Know (Sean P, T Pain) 13. Snatch Up (Wreckin Yard) 14. Can't Tell Me Nuthing (Kanye West) 15. Shouts (Three 6 Mafia) 16. Wow (Kia Shine) 17. Look (Yung Redd) 18. We Got The Best Price (D Gotti, Hershewood Hardheads) 19. Put It In The Air (K.B., Wonderous) 20. Speaker (David Banner, Lil Wayne)
The producers who made the album did their thing, and made sure they provided Prodigy with beats that he sounded natural rapping over. There are no ridiculous reaches for radio on this album that don’t fit in with the rest of the album. The sound is dark but distinctly New York, which provides a perfect soundtrack for P to drop lyrics. Young Veterans, ABC, The Life and Veterans Memorial 2 are some of the best beats on the LP.
Standouts: Young Veterans, ABC, Veterans Memorial Pt. 2, New Yitty
Is this CD a Drink Coaster/Frisbee or Classic?
This album is definitely a solid release that you can play straight through It’s that gritty New York hip-hop that has been missing from the game on a mainstream status. It’s better than HNIC so we’ll wait and see on the classic status.
What trends will this album set?
HNIC2 is the first album released in multi-language, so look for other artists to do the same thing. The Voxonic voice conversion sounds natural and not like a bad voice-over attempt. This album may also spark a trend of hardcore artists releasing albums not reaching for radio spins and keeping their albums consistent throughout all featured tracks. Ironically, P doing him on this album led to the single “The Life” charting at #7 on Billboard.
Track listing
1. Real Power Is People
2.The Life
3. Young Veterans
4. Illuminati
5. New Yitty
6. ABC
7.Click Clack
8. Veterans Memorial Pt. 2
9. Field Marshal P
10. 3 Stacks
11. When I See You
12. Its Nothing
13. I Want Out
14. ABC Vox Spanish Remix (Bonus Track)
15. Dirty New Yorker (Video Bonus)
The artist formerly known as Eyekon has been steadily building up steam as the flagship artist for his Under Sound Music imprint. After opening for the Lupes, Sadat X's, RJD2s, and many others of the hip-hop world, he is set to take center stage with his full-length release of Majority Rules. Armed with one of the most creative independently-produced music videos for his first single "Nuthin Nice" directed by Hilton Carter, the Undersound Chief Rocker E-Major is picking up a nice buzz in various markets, including a solid review on indie powerhouse Okayplayer.com.
Indie Planet linked up with E-Major and we gained many key insights on artist promotion in the internet era, DUMB HEAVY, the next big thing in streetwear apparel, exactly why you, the fickle hip-hop consumer should download Majority Rules, and not to mention a fresh new parking ticket courtesy of Baltimore City's finest.
IPTV: For a fan who is new to your music, give our viewers an idea them an idea of what to expect?
E: With Majority Rules I wanted to do the kind of music that I like and that I like to listen to just soulful hip-hop. It’s boom bap hip-hop with soul samples and Rhodes keyboards and it’s not too smoothed out, but it’s smooth enough.
IPTV: Who were some of the influences that provided the inspiration for you to do what you do?
E: Artist-wise the influence for a long time has been J-Dilla (R.I.P.) He’s always been an inspiration to me, I look up to artists like Common and Mos Def for their styles and the way that they deliver and concepts I like a lot of independent artists right now too. I’m playing Median heavy, Blu; artists that are probably inspired by the same artists that I’m inspired by.
IPTV: You have a few projects going on in other areas such as fashion. What inspires that and what designs do you have coming up in the future and what is the vision for your clothing line?
E: LOL. DUMB HEAVY all day. My personal opinion is that hip-hop has always been tied to fashion. Look at LL with Troop, and Run-DMC and Adidas. From the beginning we were doing that. It’s just and extension of who I am.
I love streetwear culture as well, it has a lot to do with hip-hop. A lot of the inspiration for the DUMB HEAVY stuff comes from old hip hop references, rap lyrics and things that I’ve always really enjoyed. DUMB HEAVY is a saying that me and my boys use and we flipped it into a brand name and it's going really well.
IPTV: Your album Majority Rules is available as a free download on your Under Sound Music site . There’s different schools of thought regarding offering music for free. What was your decision specifically in terms of offering it for free download with the time you spent recording, mixing, and mastering down. What would prompt you to give your album away for free?!
E: That’s probably the question that everybody asks me. Especially for the people who actually downloaded it and love the album. They go “Oh my God, Why do you give this away for free, this is amazing!” My answer is because I believe in it and more than anything I just want people to hear it.
Looking at the current of state of hip hop and the music business in general I don’t see too many artists making money off records sales anyway, even platinum artists that are making $1.00 per sale. After they pay off everybody who got them to that point, they’re not seeing a lot of money in the end anyway and they gotta recoup the money for their videos and all that.
Our do-it-yourself style allows us to give it away for free, we do everything in-house. I wanna give it away- I just want people to hear it and I think they’ll love it.
In the end, I’ll end up profiting in other avenues, from my clothing line, from limited edition CD sales, from merchandising, doing shows and licensing the music for tv and commercials.
IPTV: Tell the readers and/or viewers why they should download this album, why should they have this album in their collection and why they need this album in their lives?
E: The quick answer is one word and that’s Unskippable. There are no skippable songs on the record. This is not me saying this, people come up to me and tell me. They go through the whole album without skipping a song, and its 17 songs. I wanted to take songs off and I let people hear it and I asked them what should I take off, (I only wanted to have 14 joints) and people were like “I don’t know”. I spent a lot of time working on the record and the songs that I’ve done have been recorded over time and I increasingly got better so in my mind, I was thinking let’s drop this song but people like certain songs for certain reasons and those songs are there because they need to be. There are no songs are on the album for filler and that’s why they need it.
I didn’t make an album to make a club banger, to make a girl song, or to make a battle song. I made songs that mean something to me. From the intro featuring Native Son on the poem to the outro where I’m telling you I can’t be stopped it’s just a solid album and I think anybody who is a fan of hip hop would like it.
Download Majority Rules, which is available at www.undersound.net -
OkayPlayer Review
Salute the General at MySpace: http://www.myspace.com/emajorthegeneral All this and more only at Indie Planet TV.
When I was 16/ I bought my first Mercedes Benz ... you know the rest -
Bartow, Florida's own Riskay the Drama Queen truly does things on her terms. After putting in work consistently over years on various mixtape releases and leaking her own material, the hard work paid off when her single, Smell Yo Dick got the attention of celeb blogger, Perez Hilton which lead to a whirlwind of opportunity and deals on the table.
This exclusive interview covers her life, times, struggle, and hustle. Enjoy.
Riskay the Drama Queen Audio
In this exclusive interview, we sit down with one of the most influential people in the Baltimore hip-hop scene Sonny Brown.
From his upbringing to his life in the street, transitioning
into music and recent issues surrounding his health, is all
here.
Sonny Brown Audio Interview Here
Indie Planet Exclusive: Jahi: The Next Level
Written by: Todd Davis, IPTV Staff Writer
Ten years in anything is a huge milestone, and veteran Cleveland, Ohio, by way of the San Francisco Bay Area, resident emcee, Jahi, is celebrating this landmark event with the release of his 7th studio effort, Less Is More to be released on indie label Slam Jamz
TD: When did you first become interested in the pursuit of Hip-Hop?
Um…Well, I’m not gonna take it way, way back, I’ll just say that I started probably like most emcees rapping on street corners, block parties, street battles, you know. I’m from East Cleveland, Ohio, and in East Cleveland we had a lot of rap crews. We used to have these things called “Breakfast Battles,” and that’s kinda where…That’s where if you thought you wanted to be an emcee, that’s where you found out. If you wasn’t an emcee, that’s where you found out, too! But, I’ll say that professionally, 1998 is a good point of where I started deciding I wanted to take my writing skills and really get into Hip-Hop, and just started finding my way to open shows for a lot of different larger name groups that were coming through. And then, (I) released a…Kinda like an underground Cleveland hit called ‘It’s All Good,’ and things started from there. I released my first record, Higher Elevation, in 1999, and I was one of the first Cleveland acts to actually get a chance to perform at The Rock and Roll Hall of Fame, and on that show was Slick Rick. That’s where I (also) met Public Enemy for the first time. It was PE, Slick Rick, Outkast, Goodie Mob, and…I think Nas was on that bill. So, for being in Cleveland, you know, really I’ll say…The early years that I’m talking about, the street battles, the “Breakfast Battles,” you know, nobody was trying to get deals or pursue music. It was just (that it was this thing) we just loved. The same thing that was happening in New York was happening in my neighborhood; breaking up cardboard boxes and break-dancing, and rapping over beats. But, fast forward into that whole, that show in particular, and getting a chance to get on that bill kinda set off the start of my career from Cleveland, to take off to all of the things that I’m doing now, so…
TD: Growing up, who were the artists that you favored? JAHI: Uh…You know, Um…I’ll have to say Run DMC, just because how big they took it. What Jay Z is doing right now, Run DMC did that in the eighties. So, definitely Run DMC, Rakim, KRS, you know. I have to say those, and then…But, I also have to say The O’Jays, (The) Commodores, The Whispers, Curtis Mayfield, James Brown, because I grew up in a household that soul music was more important than the television, you know, so… TD: You winded up migrating to the West Coast, the Bay Area to be exact -- What prompted this move?
JAHI: Well, you know, The Bay…Initially there was a brother by the name of Tony Coleman (who) was doing a movement called the Third Eye Movement. They were doing some protests and actions, community actions, against Prop 21, which was the building of more prisons out here in the Bay Area, and I had a song called ‘Power Moves 2000’ that Davey D, on KPFA, had just really (been) blowing up and playing, and Tony Coleman got a-hold of my CD, man, and just invited me out. I had never been out to the West Coast, and we did a community concert in (Crissy) Field Park in San Francisco, and I really fell in love with The Bay, man. I like the weather, the independent energy, the community activism, so it all kinda spoke to me. And, you know, man, it really was a leap of faith. You know, I knew I wanted to…I was still in the East Coast, (and) I was still doing music and pursuing some things in the East Coast that I knew I wanted to change.
I knew I wanted to position myself in a place where I could, if I was gonna remain an independent, socially conscious, Hip-Hop artist, I wanted a platform and a place to be able to do that, and The Bay was very conducive to what, you know, my musical goals (were). And then, just for me, personally, it’s a leap of faith.
I came out here and I had an album called Window of Opportunity that I was selling while I was out here, and then things just kinda progressively took off. What I did was I just hit a lot of open mics. Java House is definitely, you know, Dwayne Wiggins’ spot, Java House, is definitely one spot that kinda confirmed for me that I was in the right place, at the right time, with the right type of music, ‘cause it was just such a great response there, and that started off The Bay. TD: How do you categorize your sound?
JAHI: You know, right now I’m calling it organic Hip-Hop, soulful vibes, and conscious music, and I say “Organic Hip-Hop,” because, you know, it’s like, “You can buy bananas from Safeway and they cool, but if it has the organic tag on it (that) just makes you understand that maybe it was some extra care put into that particular product, or some fresher fertilizer went into making it,” and I think that really describes the type of music that I’m doing. Because it’s like profanity free, it’s really uplifting, it’s talking about images and landscapes in Hip-Hop that sometimes don’t get enough visibility, it has some integrity to it, you can still dance to it (but) it’s not freaky. So, I definitely would have to (say) the organic Hip-Hop is what’s been sticking mostly to the label of what I do as far as music.
TD: How come it has been so important to you remaining an independent artist?
JAHI:Well, you know, my last release was actually released on a major through EMI, but I was out of the United States. It was in Denmark. So, I did release one album on a major, and, you know, quite honestly I set out to see what was happening in the market-place, find where I could kinda either blend in or stand out, and just make good music. I never said that I’m just gonna be an indie artist and forget the majors, or I didn’t say I want to be on the majors and forget being indie, I just set out a course to create bodies of work that I thought were quality, had purpose and meaning, and I’ve been open to all different roads of (opportunity). I think every artist wants to get their music out all over the world, so it wasn’t that I was against majors or tried to stick to be indie. The fact that I remain indie, I feel there’s a lot of advantages to being independent. You have a little more creative freedom and control, but there’s pros (to it)...Now that I’ve released a record on a major label, I could say there’s pros and cons to each. If you’re an indie, there (are) good things and there (are) challenges. If you’re on a major, there (are) great things and then there (are) challenges as well. What I’ve tried to do in all of this business aspect, is to make sure that at the end of the day I’m making quality music, and try and be as creative and as open as I can be to make sure I get the music out to as many people as possible.
TD: Why did you decide to title this release, Less Is More?
JAHI: Well, you know…A couple things. One, I think a lot of artists are making albums with 17, 18, 19 tracks. It’s like, you know, on a first date, don’t tell me everything. Don’t give it all (up). It’s like, man, you know, it’s like, way too much I think. And, even with as much as I love some major artists, I think that we’re in a digital age, everything is moving fast, it’s new albums coming out every five seconds, MP3’s are the new 45’s. It’s just a constant bombarding of images and messages, and I think in Hip-Hop some emcees just go overboard with it. So, I figured I would do the opposite. You know, I come from, you know, just again, the school of Hip-Hop that I come from is, you gotta be aware of everything that’s going on, but then after you see that, you have to be original. You have to find your place, (but) you can’t copy. You have to find your own style. So, I’ve been seeing a lot of people going overboard on their album covers and artwork, with super color and diamonds and bling bling, so I said, “Okay, my cover will be black & white.” A lot of people putting 18 19 songs, (and) I got 7 songs. It’s straight to the point, real beats and real rhymes, no filler tracks, you know. And then, also, it’s a subliminal message, ‘cause less is more can be used in a lot of different ways. You know, less using of the electricity, more opportunities to have a better earth. You know, less driving, better for the environment. So, I can take…That title is significant of my record, but it’s also a subliminal message that I’m allowing people to put their own meaning behind it, too.
TD: How does the new album differ and/or compare to previous Jahi projects?
JAHI: I just think it’s a continuation in the spirit of Jazz artists, which I study and really respect. You have to continue to create bodies of work, and I think this record…Sometimes people say, “This is the best record I’ve ever made.” You know, I’m not gonna say that. I’m just gonna say that I’m a musician, I’m an artist, I’m an emcee, and I’m true to that, and this is just a continuation of my journey in music. I’m really happy with this project because I think it’s very cohesive. I was inspired by just being back in The Bay, ‘cause I had moved overseas to Europe for a couple years and released music over there, and (it) proved that I wanted to come back to the states. And, just being back here and everything, getting back to that signal of organic Hip-Hop, everything happened organically; (from) the musicians, the tracks, (and) the songs. Everything just kinda happened in such an organic form, and it’s a new continuation. And, I think that people who appreciate my music, who have somehow someway found out who I am and what it is I do, I think they will appreciate it, and it feels good, it feels good.
TD:Being that you are celebrating a decade in music this very year -- What has been the secret to your successful career?
JAHI:I think, you know, the key to my longevity is just no matter what, I just don’t give up, man. I think that self determination, you know…I’ll say this, man, Bob Marley was 36, and then when he passed he had 13 albums. That gives…I think about that a lot because…And in those 13 albums, 5000 years from now somebody’s gonna be playing a Bob Marley song. So, just to be able to know that there’s been musicians before me, shoulders that I stand on that have created music that can stand the test of time, I believe in that, I feel that. So, I think that kinda goes in my work ethic of what style, and what kind of music I’m gonna create, and speak about topics and issues that years from now people can still appreciate. And then, you know, just quality music, man. You know, I guess, sometimes, you really can’t speak for your longevity. I just…I’m celebrating ten years of Hip-Hop this year, and when I look back if I had to say one word that describes, like, why I’m still here still doing music, it’s just faith…Faith, man.
TD: Are you planning any other outside business ventures?
JAHI: Well, you know, the other aspect I think of recording music that’s becoming a lost art is live performances. So, it’s kinda the extension of this music is that I’m really gonna concentrate on one particular area and cover it very well. I’m in The Bay, I’m in California, so if I have to say branching out, it’s taking this music off a disc or, I guess, off an iPod, and bringing it in front of people live is the next thing and creating this experience. I want people to leave shows like, “Wow, that wasn’t just another rapper spitting, it was an experience. It was meaningful.” And then, I work in the community, man. I work at a youth center. I work with youth. I want to continue to do that. In the next five years, I hope to be able to open up youth community centers in a few places that focus on Hip-Hop history and culture, technology, and life skills, and those types of things, you know. Yeah, as much as I have some other ideas, I think right now I’ve had this renewed love with music, so I think there’ll be a lot more within the music that I will do. Instead of a lot of people, it’s the normal thing, “I’m gonna try to act, and do this and do that,” and those things are cool, but I think that where I’m at right now, I think the extension of this particular project just will be more music. You may catch me playing bass in a Go-Go band in DC or something like that. You never know.
TD: You are also working on your very first book, correct?
JAHI: I do have a book called A Journey in Hip Hop - Volume One, and there will be a couple volumes coming out. The first volume has the Public Enemy experience, the Blackalicious experience, and then Destination Copenhagen. And, it’s kind of a musical memoir of my travels and my experiences, because I don’t think a lot, you know…The one thing I will say is that I don’t think a lot of people who are independent artists, without attachments to labels and those types of things, have been able to perform, for example, at Wembley Arena with Chaka Khan and Mary J. Blige. I don’t know a lot of people (that) can say that, and I think all too often we don’t tell our stories. So, there will be some books coming out. It’s called A Journey in Hip Hop - Volume One, (and) that’ll be out later on this year, and then there will be subsequent volumes coming out 2009 and (so forth).
TD: What would people be most surprised to know about Jahi?
JAHI: Um…You know, that I care -- I care about life, I care about world peace, I care about the environment, you know. I care about people coming together in peace. You know, I think you will hear that in my music, but even outside of my music (that’s) the type of person that I’m trying to live my life (to be). If I could motivate and inspire anybody just by living, living positive, living in a holistic kinda way…People may catch that, they may not catch it, ‘cause I like to have fun and party in my music as well, but I think at the end of the day that defines who I am, the kind of person (I am).
TD: What do you like to do in your off/spare time?
JAHI: Probably playing chess, you know, reading a good book, you know, kicking back. I mean, if the sun is out, you know, just taking time to appreciate the fact that…Going back to The Bay, I mean, we in the Bay Area. People save up all year so they can come to places like this, so they can have a vacation. Take advantage of the beauty that’s around me. So, you’ll definitely see me doing that.
TD: Today’s Hip-Hop, how do you best sum it up?
JAHI: You know…I have to say this, number one, the word Hip-Hop, when people say Hip-Hop music it has become so ambiguous that I have to say the same problem still exists, and it’s an issue of imbalance. If you, in terms of the diet, if you eat potato chips and pop all day everyday, I mean, that could be your diet, but it’s not a balanced diet. So, in turn, your body is gonna be affected by what you eat. So, I’ll apply that to Hip-Hop, that…I love Hip-Hop, I am Hip-Hop, I do Hip-Hop, but there’s a huge imbalance in terms of the messages and the images, and the artists that we see. And, until there is balance, there will always be problems. And, even in those problems, I still love and I’m a part of it. But, you know, again, what I do is organic Hip-Hop, what I do is socially conscious Hip-Hop, what I do is…I do Hip-Hop that speaks to women without disrespecting them, and just looking at them as being sexual objects. The type of Hip-Hop I do is motivation music. It’s rebel music. It’s, you know, liberation type music. So, when I think about that style of Hip-Hop, I’m excited because I know that there’s a lot of people that are in that lane that are doing great music, that just because we don’t see and hear ‘em on the mainstream outlets does not mean that we don’t exist, and that we’re (not) doing good work. So, in that particular aspect, I’m excited about Hip-Hop. In terms of like the mainstream, I just think, again, it’s a matter of balance. I mean, I’d like to see anybody try and walk around all day on one foot, you know, so…
TD: What is your biggest career high?
JAHI: Hmmm…Um…You know, I’ll just have to say this…You know, I was fourteen years old, man, and heard Run DMC, Rakim, and KRS and all these cats, and it effected me, man. And, the first time I picked up a microphone and realized that I had some oratorical skills. To be able to go from that moment to right now, and, you know, been able to see the world and perform on a lot of stages, and meet a lot of great people, I would have to say the culmination of all of that is the great experience. I couldn’t really pinpoint one thing. It’s the totality of my experiences that would be…I would have to say that the fact that I’ve been able to do those things, and without all of the things that people say you gotta have, “If you ain’t got a million dollar budget and all those types of things, you can’t get into the game.” I’m a living testimony that with determination and passion and, you know, challenging yourself and pushing yourself hard, man, dreams can come true. I’m living my dream right now.
TD:What does the future hold for Jahi?
JAHI: 5 years down the line, you’re gonna catch me taking these young emcees to task on stage! I mean, for real! You’ll catch me still performing. I’ll probably be talking to you about what I’ve done in the last five years in terms of projects that I’ve put out. I would also (say) in 5 years, at least two of the youth centers that I’m looking to establish will be functioning by that time. And, still being a continuation of this music, man -- Still on the journey, man.
TD: Do you have any parting words?
JAHI: You know, if people want to get in touch with me, they can check me out at: www.onefamspot.ning.com/profile/jahi. If they hit that link, they’ll get a chance to hear the music, read the full credits and everything, and, you know, that’s it.
[Less Is More out now available on iTunes, Rhapsody, Emusic, HMV Digital, Virgin Digital, Target Digital and Walmart Digital]
Presto Interview by: Mr.Shadeed
Mr. Shadeed had the opportunity to sit down with Presto to find out more about the method behind the music.
Mr.Sha: Many artists state that each album released marks a moment in time. What were your most memorable experiences in creating this album project?
Presto: This album was a long process. It took about 2 years to complete. Originally I was planning on just doing an EP. The first track I finished was Conquer Mentally.
It took a while to finish that beat because the sample was really hard to chop. Once I finished the beat then I had DJ Mino lay the scratches on the hook parts.
Sadat finished the first verse, then O.C. At that point I was looking for someone to do the 3rd verse. I did a gig with Large Pro in Brooklyn at my friend Moe Choi's event. I played the beat for Large Pro and he said he was down to do the 3rd verse and also a remix.
After that song was done, I just kept finishing songs and I decided to turn it into an album instead of a EP. Some of these artists I grew up listening to, so for me this album definitely leaves a mark in time.
Mr.Sha: Your sound is reminiscent of the golden era, but I feel its definitely pushing the game forward and sounds fresh and new, when you're in the lab creating production are you looking for a certain sound or do you allow inspiration take you in the direction that lead to the current release you're putting out??
Presto: -I'm always inspired by the golden era because that is the stuff I grew up to. When I first started DJing in high school I was playing Tribe Called Quest, Pete and CL, Pharcyde, De La Soul, and other stuff from that time. I absorbed that vibe, so naturally when I started making beats in 1996 I was on that vibe but with my own sound. When I'm making a beat, sometimes I have a certain sound I'm looking for and I'll go through my records. A lot of times i'll come up with a sample groove and play some keys or something over it to change it up and add some feel.
I usually like to start with the hi hat and build the groove, then the bass and drums. After I come up with the hook, then I can remove some of the sounds to make the verse parts.
With State of the Art, I was definitely going for an all vocal album. I always liked hearing albums like Soul Survivor where it would be different vocalists over the same producer’s beats on one album.
On State Of The Art, I used a lot of synths with the ASR-10 keyboard so it gave me a little bit of a different sound than my albums Magic LP and Inflight Instrumentals.
Mr.Sha: With the release of State of the Art, what artistic statement do you wish to make?
Presto -I want to give listeners an option of other hip hop they can hear other than a lot of the same sounds that are out now. Hip Hop used to have a lot of different styles out. There's good music out now but there’s also a lot of garbage. It sounds like some producers aren’t putting that much of their soul into it anymore.
Read the rest at the link provided:
http://iplanethiphop.ning.com/profiles/blog/show?id=2042258%3ABlogPost%3A3768
The GRIT Boys - Exclusive Interview by: Carlton Haynes
It's always a good idea to judge people by the way that they look, right? Well, it turns out that once-infallible methodology may be kind of, well, wrong. At first glance, the GRiT Boys appear to be more of the stereotype-reinforcing thug rappers who are strangling hip-hop's originality to death, when in fact they are quite the opposite. Smart, well-thought-out and clever lyricists, the GRiT Boys are vanguard rappers looking to rebuild Houston's reputation as a hotbed of innovative artists.
GRiT Boys: Combating weak shit when not enjoying Rice Krispie treats Subject(s): GRiT Boys, Ghetto Reality in Texas, Houston local musicMake no mistake: Houston has a sound. It always has. It's that slow, aggressive bump and confrontational bang. Now, it appears a new breed of Houston music is bubbling up that's fresh, provocative, real and available on the GBs' brand-new CD, Ghetto Reality in Texas. The Chef recently sat down with Scooby, Poppy, Unique, their producer Todd and the rest of the GB team at the Sound Check Music Complex to get the latest from the streets.
The Chef: You guys have been rapping for about seven years. One of the most interesting parts of rappers is what they do when they aren't living the fantastic life of being famous thugged-out gangster rappers. Like, do gangsters enjoy ice cream and playing ping-pong or whatever?
Todd: Not in that order. Poppy: Well, I don't know about everyone else, but I like Rice Krispie treats.
The Chef: That's so badass. That should be your next CD cover. Does everyone have daytime jobs? Unique: We all have daytime jobs.
Todd: It's the reality of the situation. A lot of people watch TV and think the rap game is all sweet. We work hard. The Chef: So what does everybody do?
Todd: ...Scooby? Scooby: Shiiiiit. Unique: [Scooby] is a cable man*, I lay carpet and [Poppy] works at a tennis shop. (*Scooby later explained that he is not an actual cable man. He works with the cable receiver boxes; he doesn't actually "knock on doors and shit.")
The Chef: A tennis shop? Like, Serena Williams-type tennis? Let me get this straight — rappers eat Rice Krispies treats and play tennis?
Poppy: I work in shipping and receiving in a tennis shop. I ain't never fucked with tennis a day in my life. Scooby: What's crazy is that work reality just set in. At first we was just bullshitting. Broke. Thinking some shit was just gonna come to us. All these niggas is lying sayin' they got all this money. That shit is dumb. I have no problem working. I got bills to pay, feel me.
The Chef: So talk about the sound. It's not your typical Houston stuff. It's more introspective. It's complicated. The structure is still there, but it's a new feel. Slightly East Coast digitized with Houston swag minus the thuggery. Is that something that you made an effort towards?
Scooby: We've just always been dope rappers, regardless.
The Chef: That's the best answer, ever.
Todd: It's a streetwise feel. Someone who knows the dope dealer can sit with the dope dealer but ain't a dope dealer. Someone who knows a pimp can sit with a pimp but ain't a pimp. Unique: It's just talent. We put thought towards reality. No swangin', no bangin'. Todd: The mentors, too, they played a part. Hawk, Lil'O. If you ever listened to their material, they were always trying to do a well-rounded album. That rubs off on you.
Scooby: That boy Hawk was our biggest mentor. We was on the road with him. It was a process. The Screwed Up Click movement brought everyone to the light. Hawk took us on everything he was doin'. If he was performing he wanted five mikes, one for each of the GRiT boys, you know what I'm saying? He'd give us a nice chunk from the show, everybody eatin', everybody sippin' drank, everybody smokin' weed. That boy really showed us how to share. How to be real. Hawk did that.
The Chef: So gimme some juice. Who do you all hate? Where's the beef?
Scooby: You know what we really, just, really don't like?
The Chef: What's that? Scooby: Bitch-ass niggas.
The Chef: Pfft. Who does? Scooby: Nah, it's like, they wanna...they know you jammin', they know you hard, you know what I'm saying?
The Chef: Umm...not quite you tell me. Scooby: It's like, they know that you got everything that could make you bigger than them, but they don't wanna fuck with you because you could pass them up. But then they act like you still cool with them. They ain't your friends but you kinda gotta be cool with them 'cause you gotta see them people everyday. It's like your boss, you know what I'm saying? You could be the best worker, but he's gonna mess with you 'cause he don't want you to get past his position.
The Chef: So basically, my boss is a bitch-ass nigga? Got it.
Scooby: Ha. Nah, I'm saying, that's how niggas is. Todd: I 'll go on record and say that I don't like the Houston music scene. It's not sincere.
Chef: That's what I was curious about. Because from the outside looking in, it seems like it's love all the way around, like one big happy family.
Todd: No. It's not sincere. Scooby: There's certain...we ain't gotta say no names. There's certain rappers that are real and are cool, but all these other niggas is fake, so it's a relationship you gotta work. It ain't nobody specific, but there's certain niggas, they famous, whatever, you know what I'm sayin'? But they do little girl shit. They holla at you when it's convenient for them, you know, when they want you to do something. But then, when you try to get with them they don't hit you back. That ain't real, dawg. These famous niggas came from the same point you at, but they act like they forgot about that shit.
Todd: I feel like a lot of people go get in their corner and laugh and point fingers, like, "Ha, ha. I knew they weren't gonna do it." You know what I'm saying?
Scooby: Them niggas be doin' weak shit. Like, sayin', "Go get them" or "Don't use them" or "Put them on the radio." They be trying to hull us. They be doin' that to everybody. Todd: I don't think they're trying to just hull us. For some reason, people in Houston don't get that if we worked all together we would go a lot further. We need to make one big independent label. I help you, you help me. But it's gonna be hard to get to, y'know. But if we could do that, no one could touch Houston. So there go you people watch out for these boys they are up and coming in the world of hip hop nothing going to hold them down don't forget the name, The GRiT Boys.
I want to take this time to thank all these guys for spending time with me your boy The Handicapped Chef . The Handicapped Chef, Carlton Haynes is owner of Triple H Catering and Consulting service/ for more information E-mail us thehandicappedchef@gmail.com.
Our next feature for Independents Day will take us to Baltimore, MD for our exclusive interview with none other than Rock Mics' Head MC in charge Ab Rock . As an artist, Ab's sound and direction is probably more based in reality than the majority of other "new" artists that I've heard recently. From winning MC battles, to performing at Spoken Word events, to reflecting on his heritage and how that impacts his music - this interview has it all.
The interview was too good to transcribe, so our viewers will get over 30 minutes of the full interview.
http://www.zshare.net/audio/12904294839721b6/
p style="text-align: center;">
Besides being the new homes of hip-hop legends such as DMX and The Godfather Kool G. Rap, Arizona has had a few artists step out and make their mark, although that is beginning to change.
Enter Thaahum.
As an artist, Thaahum delivers a message, but is very "conscious" not to be tied in the rest of the "backpack rap" genre. As an individual, he is very complex with references to business books, movies, and the rare position of being a single dad, this interview has it all.
Full Interview (Audio) Posted Below:
http://www.zshare.net/audio/12910884d1434d2e/
Independents Day Sponsor
Independents Day Sponsor
Active content removed Active content removed Click here to get your own player.
The Planet also has "I'm Bout Money" set to enter rotation sooon. Hold ya head Baby D, hope those charges don't stick.
Blue Sky Black Death, the renowned production duo of Kingston & Young God, present their 4th full length release (and first instrumental offering), 'Late Night Cinema.' After two critically and commercially lauded releases featuring collaborations with Wu-Tang Clan affiliated MC's Holocaust & Hell Razah, Blue Sky Black Death strip their formula down to the essence with this stand-alone instrumental concept album. To date, Blue Sky Black Death have also collaborated with and/or produced for the likes of Guru (Gang Starr), Sabac Red (Non-Phixion), Jus Allah, Wise Intelligent (Poor Righteous Teachers), Rob Sonic, Virtuoso, Chief Kamachi, Holocaust, A-Plus and Pep Love (Hieroglyphics), Mikah-9 (Freestyle Fellowship), and Awol, amongst many others. Now, owing to popular demand and to showcase their unparalleled versatility, Blue Sky Black Death seamlessly cull together their vast and eclectic influences (which range from electro to classic boom-bap hip-hop) with 'Late Night Cinema.' An offering as bold as it is diverse, 'Late Night Cinema' substantiates Blue Sky Black Death's overwhelming acclaim as one of today's most promising production teams, and in so doing transcends both expectations and traditionally ascribed genre boundaries.
Yes, Indie Planet Lil'Mama - I personally think she is DOPE and is doing more for female MC's than any 5 that you can name right now.
OG Ron C and DJ Khaled I'm So Hood OG Ron C and DJ Khaled show off their talents in their latest mix, 'I m So Hood'. As two of the best DJ s fully recognized in the south, they are on the heels of winning an award for the best mixtape of the year at the Southern Entertainment Awards. They have gone from behind the scenes, to mixtapes, to killer compilation hosts, all the while keeping ears to the street and their names in the game. 1. DJ Khaled Intro (DJ Khaled) 2. I'm So Hood (Trick Daddy, Rick Ross, Plies) 3. Duffle Intro (Playa Circles, OG Ron C, DJ Khaled) 4. Duffle Bag Boy (Playa Circles) 5. Duffle Gizzlemix (Lil Wayne, J Dawg, Slim Thug) 6. DJ Screw Ride Out (OG Ron C) 7. Ride On 4's (J Dawg, Slim Thug) 8. Goin Crazy (2 Pac) 9. See Me Flossin (G.F.C., Pimp C3:22) 10. Pass Me The Weed (Master P) 11. Like What I Got (Mike Jones) 12. You Ain't Know (Sean P, T Pain) 13. Snatch Up (Wreckin Yard) 14. Can't Tell Me Nuthing (Kanye West) 15. Shouts (Three 6 Mafia) 16. Wow (Kia Shine) 17. Look (Yung Redd) 18. We Got The Best Price (D Gotti, Hershewood Hardheads) 19. Put It In The Air (K.B., Wonderous) 20. Speaker (David Banner, Lil Wayne)
There’s a new trend emerging in the hip-hop community when a veteran artist or group releases a new album that is below his or her own level of excellence, fans will immediately rush and say “Yeah, but its better than 90% of the music that’s out today” With the constant pressure to remain relevant in today’s climate of hip-hop music, many artists who were gold and platinum in the mid-late 90’s will compromise their sound and established fan bases to chase the new ringtone money.
There were many questions surrounding the release of Prodigy’s latest effort, HNIC2. For the true-blue Mobb Deep fans who thought he signed a deal with the devil when he started waving the G-Unit flag, many wondered if he would ever regain that rare form that had him on the short list of top MC’s from the five boroughs of New York City.
There were many hip-hop purists that hailed his initial solo offering HNIC as a hip-hop classic and highly slept-on album, which leads to the discussion of whether he could top HNIC. All music aside, for the past year, Prodigy has definitely provided the bloggers with quotable material as he launched his HNIC2.com site complete with self-managed blog where he commented on everything from trends he created to rappers he isn’t feeling, to his YouTube fueled scuffle with Saigon. With jail-time pending, Prodigy knew he had to deliver an album to keep his name ringing for the next 3 years while he was behind the wall serving time.
Music-wise, leading up to HNIC, P had started to show glimpses of his previous greatness by releasing Alchemist-produced Return of the Mac. This album answered the critics that said P lost it on albums such as Imfamy. Similar to the first HNIC, this album has a dark feel to it, as P takes you on a journey through 14 tracks. Unlike most Mobb albums, this is not just about Queens, drugs, and dunns, the album has overt references to the Illuminati, Secret Societies, his sentencing, and denouncing rims, jewelry, and all things flashy to get back to basics. Let me end the suspense, P went in on this one and delivered his best solo effort to date.
For all the buzz and hype surrounding the release of HNIC2, he channeled it into a solid album. On this effort, P is definitely more focused than any other album release I’ve heard him deliver. As an artist, he seems to finally know his place and relevance in hip-hop history as evidenced by the track titled Young Veterans. This is also the first distinctly New York sounding album on a mainstream level that has been released in quite some time.
There are no chick songs, club songs, or weak attempts at crossover on this album. The People Wanna Know: Is it better than HNIC? Yes. It is much more focused effort production-wise and subject-wise. Has P returned to that Hell on Earth/Murda Muzik form on the mic? I would say P expanded on the subject matter on Hell on Earth where he touched on his theory of Illuminati, and made it the theme of the album.
Lyrically, P delivered some of the most prolific lyrics in hip-hop history during that era, as he is the most of the most heavily sampled artists in hip-hop music. His flow and rhyme patterns are reminiscent of HNIC, vivid lyricism that is so powerful that it doesn’t have to rhyme to make its point.
How’s the Production on HNIC2?The producers who made the album did their thing, and made sure they provided Prodigy with beats that he sounded natural rapping over. There are no ridiculous reaches for radio on this album that don’t fit in with the rest of the album. The sound is dark but distinctly New York, which provides a perfect soundtrack for P to drop lyrics. Young Veterans, ABC, The Life and Veterans Memorial 2 are some of the best beats on the LP.
Standouts: Young Veterans, ABC, Veterans Memorial Pt. 2, New Yitty
Is this CD a Drink Coaster/Frisbee or Classic?
This album is definitely a solid release that you can play straight through It’s that gritty New York hip-hop that has been missing from the game on a mainstream status. It’s better than HNIC so we’ll wait and see on the classic status.
What trends will this album set?
HNIC2 is the first album released in multi-language, so look for other artists to do the same thing. The Voxonic voice conversion sounds natural and not like a bad voice-over attempt. This album may also spark a trend of hardcore artists releasing albums not reaching for radio spins and keeping their albums consistent throughout all featured tracks. Ironically, P doing him on this album led to the single “The Life” charting at #7 on Billboard.
Track listing
1. Real Power Is People
2.The Life
3. Young Veterans
4. Illuminati
5. New Yitty
6. ABC
7.Click Clack
8. Veterans Memorial Pt. 2
9. Field Marshal P
10. 3 Stacks
11. When I See You
12. Its Nothing
13. I Want Out
14. ABC Vox Spanish Remix (Bonus Track)
15. Dirty New Yorker (Video Bonus)
The artist formerly known as Eyekon has been steadily building up steam as the flagship artist for his Under Sound Music imprint. After opening for the Lupes, Sadat X's, RJD2s, and many others of the hip-hop world, he is set to take center stage with his full-length release of Majority Rules. Armed with one of the most creative independently-produced music videos for his first single "Nuthin Nice" directed by Hilton Carter, the Undersound Chief Rocker E-Major is picking up a nice buzz in various markets, including a solid review on indie powerhouse Okayplayer.com.
Indie Planet linked up with E-Major and we gained many key insights on artist promotion in the internet era, DUMB HEAVY, the next big thing in streetwear apparel, exactly why you, the fickle hip-hop consumer should download Majority Rules, and not to mention a fresh new parking ticket courtesy of Baltimore City's finest.
IPTV: For a fan who is new to your music, give our viewers an idea them an idea of what to expect?
E: With Majority Rules I wanted to do the kind of music that I like and that I like to listen to just soulful hip-hop. It’s boom bap hip-hop with soul samples and Rhodes keyboards and it’s not too smoothed out, but it’s smooth enough.
IPTV: Who were some of the influences that provided the inspiration for you to do what you do?
E: Artist-wise the influence for a long time has been J-Dilla (R.I.P.) He’s always been an inspiration to me, I look up to artists like Common and Mos Def for their styles and the way that they deliver and concepts I like a lot of independent artists right now too. I’m playing Median heavy, Blu; artists that are probably inspired by the same artists that I’m inspired by.
IPTV: You have a few projects going on in other areas such as fashion. What inspires that and what designs do you have coming up in the future and what is the vision for your clothing line?
E: LOL. DUMB HEAVY all day. My personal opinion is that hip-hop has always been tied to fashion. Look at LL with Troop, and Run-DMC and Adidas. From the beginning we were doing that. It’s just and extension of who I am.
I love streetwear culture as well, it has a lot to do with hip-hop. A lot of the inspiration for the DUMB HEAVY stuff comes from old hip hop references, rap lyrics and things that I’ve always really enjoyed. DUMB HEAVY is a saying that me and my boys use and we flipped it into a brand name and it's going really well.
IPTV: Your album Majority Rules is available as a free download on your Under Sound Music site . There’s different schools of thought regarding offering music for free. What was your decision specifically in terms of offering it for free download with the time you spent recording, mixing, and mastering down. What would prompt you to give your album away for free?!
E: That’s probably the question that everybody asks me. Especially for the people who actually downloaded it and love the album. They go “Oh my God, Why do you give this away for free, this is amazing!” My answer is because I believe in it and more than anything I just want people to hear it.
Looking at the current of state of hip hop and the music business in general I don’t see too many artists making money off records sales anyway, even platinum artists that are making $1.00 per sale. After they pay off everybody who got them to that point, they’re not seeing a lot of money in the end anyway and they gotta recoup the money for their videos and all that.
Our do-it-yourself style allows us to give it away for free, we do everything in-house. I wanna give it away- I just want people to hear it and I think they’ll love it.
In the end, I’ll end up profiting in other avenues, from my clothing line, from limited edition CD sales, from merchandising, doing shows and licensing the music for tv and commercials.
IPTV: Tell the readers and/or viewers why they should download this album, why should they have this album in their collection and why they need this album in their lives?
E: The quick answer is one word and that’s Unskippable. There are no skippable songs on the record. This is not me saying this, people come up to me and tell me. They go through the whole album without skipping a song, and its 17 songs. I wanted to take songs off and I let people hear it and I asked them what should I take off, (I only wanted to have 14 joints) and people were like “I don’t know”. I spent a lot of time working on the record and the songs that I’ve done have been recorded over time and I increasingly got better so in my mind, I was thinking let’s drop this song but people like certain songs for certain reasons and those songs are there because they need to be. There are no songs are on the album for filler and that’s why they need it.
I didn’t make an album to make a club banger, to make a girl song, or to make a battle song. I made songs that mean something to me. From the intro featuring Native Son on the poem to the outro where I’m telling you I can’t be stopped it’s just a solid album and I think anybody who is a fan of hip hop would like it.
Download Majority Rules, which is available at www.undersound.net -
OkayPlayer Review
Salute the General at MySpace: http://www.myspace.com/emajorthegeneral All this and more only at Indie Planet TV.
http://www.zshare.net/download/5730205d70acb0/
Check him out and sample some music on myspace http://www.myspace.com/caseyveggie
Urban Steez Interview
http://www.urbansteez.com/unsigned_hype_artist_page/casey_veggies.php
When I was 16/ I bought my first Mercedes Benz ... you know the rest -
About
Support Indie Planet TV
Donate Now
Donate Now
© 2009 Created by Mumbo Sauce on Ning. Create Your Own Social Network
