Archive for the 'remixing' CategoryPage 10 of 15

Zion I – The Take Over Review

published
on February 16, 2009
by
ACtual
in artist/album reviews, collaboration, concert reviews, future of music, genres, music, and remixing
. 0 Comments Tags: , , , , , .

In 2006, Zion I released their album Break A Dawn, an album previously released only in Japan and brought stateside following the release of their collaboration with The Grouch, Heroes in the City of Dope. And then, radio silence. Without question the group was staying busy with live performances, interviews, AmpLive’s foray into remix work with the Rainydayz Remixes of Radiohead’s In Rainbows, but the gap between Break A Dawn and tomorrow’s release of The Take Over has been the longest drought of new Zion I material since the gap between 2000’s Mind Over Matter and their sophomore 2003 release Deep Water Slang. And the good news? The Take Over shows what ten years of maturity, musical comfort and genre influence can do to two people dedicated to their craft. The bad news? It clocks in at under 50 minutes, and when it ends, you can’t help but wish there was more.

While The Take Over doesn’t carry with it the same continuity of thought that made Mind Over Matter an intro to outro listen, it does bring the most eclectic genre influences into the music since that album. AmpLive’s creativity with his hip-hop and stunning ability to incorporate other genres helps create a musical backdrop for Zumbi’s lyrics that transcend plain hip-hop or rap. Following the intro, “Geek to the Beat” kicks off the album with a mixture of tribal drums and background chant sounds that are mingled with electro synths and heavy 808s. While it would be very easy for other artists to fall into the trap of using one of these sounds at the expense of the others, Amp has managed to find the balance, alternating between the very simple beat and chants during the verse and then bringing in a heavier electric feel for the chorus. The video below has a snippet of the song performed live on Friday night in Oakland.

“Takeover” follows “Geek to the Beat” and provides a much more traditional hip-hop sound. Amp brings in a boom-bap beat with simple keys in the background and a cut up sample that creates a feel of building in the song while you shrug your shoulders to the sample and then feel the beat come back underneath. Zumbi sounds effortless in his lyrics, and as it goes to chorus, the “takeover” sample mixes with undulating synths and a soulful sounding male vocalist sample. As the song fades and goes to outro, Amp’s musical skills are once again on showcase with a funky electro sound that sets up one of the singles off the album, “DJ DJ.”

This track is certainly one of the more out there cuts on the album as it uses techno and fast paced electro sounds with a chorus snippet in Spanish provided by Deuce Eclipse. Amp on here pays homage to his craft by sprinkling in something of almost anything he can find, including 80’s synth work that could have worked in almost any dance hall. What is perhaps most exciting about this track is that it goes in so many different directions, yet the potential for the evolution of the song is further enhanced by the fact that the group has released the stems to the songs online for fans to remix their own versions. Below is a brief clip of their performance of “DJ DJ” from Friday night.

This goes into one of the most solid songs on the album, “Antenna” featuring Amp’s main collaborator on the Radiohead remixes, Codany Holiday. On this track, Holiday’s refrain of “make me feel brand new” sounds at once both current and retro, a heartfelt line used more as hook than as chorus. What’s fantastic about it is that Zumbi appears to have felt it too as he structures his verses around Holiday’s hook, the simple and in places sparse beat and Amp’s synth work which here sound like falling sheets of rain. The result is a reflective song about Zumbi’s current situation and thoughts, with ascending vocoder sounding samples through the chorus. The electro remix and distortion at the tail end of the song helps to break it down before leaving you with the full beat and hook as it trails out. Video of Friday’s performance of the beginning of this song below.

From there we go into the track duo of “Caged Bird Pt. 1” featuring Brother Ali and “In the Mornin’ (Caged Bird Pt. 2).” These two tracks work as contrasting pieces. The uptempo and refreshing strings provide the melody for a moving and full sounding hip-hop track with a sample-heavy chorus complete with scratch effects and chop up by Amp. The lyrics focus on the idea of something better, and the feeling of the song as a whole is that the street and the cage provide the lyrics, but the music helps open it up and make flight possible. The easy, soulful and bluesy transition to the beginning of pt 2. then gives way to a grimy and deep sound with a much heavier beat. Pt. 2 sounds a bit less hopeful and upbeat than pt. 1, as if pt. 1 is meant to help the caged birds sing, and pt. 2 takes a view of the grind that creates the cage. What’s amazing here is that using the same melody and samples, Amp weaves two completely different songs together with such precision that the split between them is virtually invisible.

“Radio” takes a page from the “Hey Ya” book in that it incorporates a traditional drum/clap sound and acoustic guitar strum, making it sound like a hybrid of hip-hop and 50’s pop music. Zumbi raps about genres and musical evolution on this track that is really a retrospective of radio music and pays homage to the great artists of the past, from Miles Davis to Jimi Hendrix. And on the following track, Amp attempts to bring in a good portion of this retrospective with “Gumbo,” a brief interlude song steeped in horn work and Ragtime influenced jazz. But careful never to let his genre influence tilt too far in one direction, Amp takes the horns and decomposes them to electronic fluctuations of a space jazz variety.

“Country Baked Yams” featuring Devin the Dude is probably the largest departure from Zion I’s signature sounds on the album. It’s a song that will probably do very well on the radio and will have followers, but for me is a bit off. This isn’t to say that I don’t recognize the attempt at something different here and praise the attempt, I just personally don’t think it works. The track is steeped in bubble gum synths and the vocal alteration to a higher pitch makes it feel almost a bit childish. But the chorus is finely crafted with a simple vocal part and a very nice guitar melody with a nice bass line. It’s certainly closer to pop than I’ve heard from Zion I, but as an exploration and experiment, it shows that they’re willing to cross lines and try new things, which I’m never opposed to, even when the results fall short.

“Coastin” featuring K.Flay follows, opening with and carrying through piano that sounds heavily influenced from Amp’s work on Radiohead’s music. The drum clap gives a background for K.Flay’s smooth and somewhat smoky voice and the lyrics by Zumbi sound like he was without question coastin when he wrote it. Amp mixes in some crowd sounds to complete the track. The result is a driving song, perfect for late night with the sunroof open or mid-day with all the windows down. See the clip below:

The last single of the album, “Juicy Juice” comes next, and is the first song that I actually heard off this album a few months ago. The deep 808s and the hyphy feel come out on this Bay Area track that could easily have been placed as the opening track in place of “Geek to the Beat.” The sing-along worthy track, “Peppermint Patty” follows and has the vocal singalong part backed by horns and an eerie melody behind Zumbi’s lyrics. Next is “Bring in the Light” with a grim outlook on the current state of the world, including the bleak but all too familiar thought in the lines “Killing for oil/protest for peace.” Throughout the track, Amp brings jazz touches in, which go full steam ahead in the last minute of the song as he experiments with digitally distorted samples from the song mixed with a jazz piano and more space jazz sounds. While all of the tracks are solid on this album, the outros and interludes are where Amp really shows what kind of producer he is and how well grounded he is musically. They end the album with “Legacy” featuring Ty and Jennifer Johns, a jazz/lounge/pop fusion that draws on some of the tribal beats that show up throughout the album.

All told, there’s something for just about every listener on this album, whether you’ve followed Zion I since Mind Over Matter or if The Take Over is the first time you’re hearing about them (in which case, which rock have you been living under?) Latin, Jazz, Techno, Dance, Blues, Funk and Rock all find a place here, and even when they may not work for a particular listener, the desire to try and experiment with everything can’t be overlooked and is part of what makes the album great. What’s important to note is that while the song by song break down goes to describing what can be found on the album, it doesn’t do justice to the music here. Zumbi’s lyrics are introspective and conscious enough to get better with every listen, and similarly, AmpLive’s production work incorporates so many genres and layers to the musical tapestry he creates here that it’s hard not to constantly pick up new pieces to the sound that you hadn’t heard before. The Take Over drops tomorrow.

Zion I Remix Contest from The Take Over

published
on February 12, 2009
by
ACtual
in collaboration, culture, DIY, future of music, genres, music, remix promotions, and remixing
. 1 Comment Tags: , , , , , .

Bay Area hip-hop duo Zion I is well known over the course of their discography for exploring musical sounds and genres not typically associated with the sounds of the streets. Zumbi’s introspective and intellectually based lyrics have found an excellent match in the musically curious mind of AmpLive, who aside from remixing Radiohead’s In Rainbows album has brought soul, funk, electro, house and rock vibes to hip-hop in a way that makes Zion I both incredible and enlightening to listen to.

Silent on the discography front since their 2006 collaboration with The Grouch, Zion I has poised themselves for a new group release, their first since they brought the Japanese only release Break A Dawn over the Pacific for a stateside release in ’06. Their new album, The Take Over, is scheduled to drop next Tuesday, and in keeping with their format of engaging their fans and examining ways to evolve their own music in our current remix culture, they have launched a remix contest for one of the tracks off the new album, “DJ DJ.”

Today, Zion I released their stems from “DJ DJ” to the general public, using MixMatchMusic‘s simple Remix Wizard. If you’re an audio wiz already, just download the stems and work them out, but even for those with less musical experience or musicians not interested in downloading the stems, the MixMatch wizard provides the stems and the mixing interface to make this contest accessible to anyone with a computer. What’s excellent about the format here is that it doesn’t require any previous experience, as the wizard is very intuitive and easy to use.

Finish your remix and upload it by March 12th and you’re in the running for some excellent prizes, including a spot for your remix on Zion I’s Myspace page and lots of great Zion I stuff for the winners. For more information or to enter the contest, click here.

The Metermaids Announce Remix Contest Winners

published
on February 12, 2009
by
Alan Khalfin
in music and remixing
. 2 Comments Tags: , , , , , .

For the past five weeks, the Metermaids hosted a remix contest inviting fans to submit remixed versions of their song “Nightlife.” With the contest coming to an end, the Metermaids selected two prize-winning submissions. The grand prize winner receives a copy of Reason 4, a Metermaids remix track featured as a free download on iTunes, and another remix track featured on the Metermaids’ MySpace page and official website. The runner up receives two signed copies of the Metermaids album Nightlife, two Metermaids t-shirts, and Metermaids stickers.

The winning remixes, chosen by the Metermaids themselves, feature an eclectic range of production aesthetics and willingness by contestants to breathe new life into the Metermaids’ music. The grand prize winner’s remix, created by user System: C, features a sped up tempo from the original song, complete with a rave bassline and classic pinball sound effects. The runner up’s remix, created by user ALB 33, is an ambient groove characterized by its echoing guitar chords and airy synth drones, complemented well by a jazzy hip-hop drumbeat that gives the remix its driven pulse.

Grand Prize winner — System : C (listen to the remix here)
Runner up — ALB33 (listen to the remix here)

Also, check out these two mashup vids the Metermaids made for two tracks from Nightlife In Illinoise, featuring footage from a 1980s BMX movie and some campy ’70s TV shows.

Lawrence Lessig, The Colbert Remixes and Where We Go From Here

published
on February 4, 2009
by
ACtual
in art, collaboration, culture, DIY, future of music, genres, music, music business, remixing, and technology
. 4 Comments Tags: , , , , , , , , , , , , , , , , .

Early in January, Comedy Central’s Stephen Colbert sat down with Lawrence Lessig. The interview was typical Colbert tongue-in-cheek, but good for a laugh. For those of you not closely following the implosion of the music industry and subsequent recreation as a more inclusive forum, Lessig is the author of Remix: Making Art and Commerce Thrive in the Hybrid Economy, a book that examines methods of creating revenue out of creative work. The example Lessig used while talking to Colbert was Flickr which allows users to post pictures which Flickr can then create revenue from. But Lessig’s primary argument is that the war on Peer-to-Peer file sharing has failed (he’ll get no argument here) and that the copyright laws are outdated with the vast number of increasing ways people can share, remix and alter original work while making something new. In a way, every blog does this. This post in itself is a remix of two interviews, the functions of two websites and my arrangement of these facts with my thoughts. It’s about as close as I come to making music. The DIY explosion in music is part of the culture that has helped spawn mash-ups like Danger Mouse’s Grey Album (The Beatles’ White Album/Jay-Z’s Black Album) and AmpLive’s Rainydayz Remixes (AmpLive remixing Radiohead‘s In Rainbows.) The point is that technology and the rapidly evolving music industry need to find common ground with artists, and not just other musicians, but all artists, as the mixed media medium is something that can only grow from here.

Well, when Colbert was very specific about becoming “possibly litigious” should anyone take portions of his interview and remix it with a dance beat, he had to do so knowing full-well that someone would. He wasn’t disappointed as two days later, internet upstart IndabaMusic jumped into the fray with a full site devoted to remixing the Colbert/Lessig interview. But it didn’t end there, did it? With Colbert, how could it? Never being one to avoid an opportunity to poke fun at himself, Colbert remixed a video of his own work to a pulsing dance beat, and told the remixers to lay off again, to of course encourage them to remix more. Enter Dan Zaccagnino, head of Indaba who had an interview on Colbert the other night (interview at 14m in) to talk about the remix culture. Of course, these types of remixes are nothing new over at MixMatchMusic, which has had success with their Remix Wizard. While the Indaba/Colbert remix contest is excellent, it is Indaba based. MMM’s Remix Wizard is a free widget that can be set up and used by any artist on their website to host remix promotions. It doesn’t even need to have anything to do with music, as evidenced by Remix Sarah Palin.

While Colbert’s thoughts in the interviews with Lessig and Zaccagnino are clearly meant to be humorous, they serve a larger purpose in that these episodes help create buzz for a rapidly growing and increasingly important segment of the music industry: collaborative pieces brought about through alternative means. Indaba has managed to create a large community of musicians from around the world who are engaging in internet based musical collaboration, and this is a huge first step in breaking down barriers within the recording industry.

But with every broken barrier comes the question of the next frontier. While Colbert asked Zaccagnino what happens to girlfriends breaking up bands if the musicians collaborate on the internet, he failed in his attempts at humor to get to the root of the issue, namely monetization of content. While not many musicians will actively think internet collaboration as a means to avoid break-ups with their significant others, a most serious topic of interest to them is how they can profit from their work. No artist likes the idea of losing control over their work, but if knowing that the usage of their work by others would create tangible income for them, the concept of collaboration and other artists who liked them enough to mix them with their own pieces becomes a much more appealing, and therefore widespread trend. As with the foresight of their DIY remix widgets, MixMatchMusic provides the ability for artists to monetize collaboratively made songs, as well as contribute stems to their social sample library to earn royalties.

The monetization of artist work and internet collaboration is the next step in the rebuilding of the music industry. As fans become more involved with the artists because they are part of a shared internet workspace, the desire to support an artist will increase. Add to that the ability to remix their favorite artist’s work, and the fan interaction with the music becomes uncaged. Forget making a mixtape for a friend. Imagine taking your favorite songs and going Girl Talk on them. This interest and desire to support the artist would in turn funnel revenue back to the musicians.

The recording industry would say that this has been the goal of their war on file sharing, but that is an outrageous lie as most artists never see a dime of the few settlements the RIAA succeeds in obtaining. Little wonder then that the RIAA is backing down. In fact, one could argue that the backlash against the recording industry has been fueled by the consumer perspective that the artists aren’t seeing the profits they should. Furthermore, as revenue streams move away from the major labels and into the artists’ pockets, the majors will be forced to work with both musicians and consumers on more viable distribution and revenue models.

But forget about the money and the labels and the upheaval in the industry. How will this help music evolve? As more artists turn to internet collaboration because their work is safe and profitable, the inevitable evolution of genres and musical landscapes will grow exponentially. Think The Beatles and Jay-Z were cool? What happens when you can take a French hip-hopper’s lyrics, a tribal drum beat from a musician in Africa, a flute melody from Tokyo and a guitar piece from Columbus, Ohio, and add it to your piano piece from the comfort of your home and computer? Sure, you could make money, but look at what your collaboration has created musically. When internet collaboration is monetized and all-inclusive, the community becomes the music industry, and the listeners become the musicians.

Part 2: Opio and Tajai Interview (Souls of Mischief)

published
on January 23, 2009
by
ACtual
in collaboration, culture, future of music, genres, interview, music, music business, music history, and remixing
. 3 Comments Tags: , , , , , , , , , , , , , , , , , , , , , , , , , .
Opio and Tajai of Souls of Mischief/Hieroglyphics

Opio and Tajai (right) of Souls of Mischief/Hieroglyphics

For Part 1 of this interview, click here. In Part 2 of my interview with Opio and Tajai, we discussed Bay Area Hip-hop, fan remixes, greatest albums of all time and the life lessons taught by their genre.

ACtual: I think that the Bay Area has some of the best Hip-Hop. There’s always people coming out from the Bay, the Hiero crew, E-40, Nickatina, Zion-I, lot of good groups. What do you think it is about this area that you think produces such good Hip-Hop?

Tajai: We’ve got diverse backgrounds, the port, especially Oakland and San Francisco, we’re the coast. If you look at the array of blue vs. red states, you’ll see that the coasts, where they have more than one type of person, or more than two types of people are places that embrace new and fresh ideas. Beyond that, there’s nothing to do out here. This is the worst place to try to start your career once you’ve made your move, so people are just bored so they make stuff. I could see in LA or New York, you can dress like a rapper, and look like one and hit the clubs and get that whole like, “I’m in the scene” thing. There’s no scene here, so you have to really be who you say you with regards to music. You have to do things yourself to achieve it rather than just looking the part. In other places you could look the part and try to get over like, “you know me…” and try to get in the clubs free, there aren’t any clubs out here. Because the scene is so wack, people are more creative and because we have a diverse background. This isn’t just the place where hella dope Hip-Hop is from. This is the place where the Panthers are from, where the hippies are from, where you look at San Francisco and gay rights, we’re on some other shit out here, we’re on some next level shit.

Opio: We’re trying to have equality out here. So in other places, in order to distinguish yourself and make yourself be something special to make people respect you like, “You’re doing something good, cool!” We ain’t really about that out here. It’s more about everyone is on the same level, so when in the Bay Area people lift you up and say, “Your shit is dope” that’s saying something because they have to see you and hear you and see it for themselves and know it’s true. Cause if not, you’re not going to get it. You might get it if you’re coming from somewhere else because it takes a lot to get on the scene and get heard. But if you come up from the grass roots out here, people are always like, “You’re never gonna do it.” Not that people are negative in general, but we ain’t really starstruck out here. You don’t see a lot of Bentleys and Lamborghinis and all that, and I don’t think it’s cause people can’t have it.

T: There’s a lot of money here. Per capita we’re probably one of the more wealthy cities in America.

O: That’s just not our stilo out here. You’re gonna stand out and make people get mad at you like, “What are you doing all that for? What do you need a Bentley and Lamborghini and all that for?” There’s something wrong with that out here, almost inherently so. People like to see you shine but they want you to be humble, you have to be a real person out here in order to maintain. So I feel blessed that we’re able to get respected out here, in this city in particular, especially being from here in all the years that we’ve been here, it’s a good feeling when we go to the Art and Soul festival or something like that. It’s a community gathering and there’s people from everywhere, but we still get love just like people paid to come see us at a show.

AC: A lot of groups are letting fans remix their work, putting stems up on the internet, doing remix work. Can you see getting into that and letting your fans work with your music like that?

T: We’ve got a whole album of fan remixes out. It’s called Over Time. So we’ve been doing that. So we might do it on this next record where we might put our ProTools files up and let people who are really serious about pushing the envelope and taking our music to the next level, do it. Because why not? We put our take on it, let them put their take on it. It’s not going to make less of what we have done. Once you’ve created something, like a record, it stands the test of time. All of our singles, we put up a capella so people can remix it, that’s the whole point. We sell a capella, we put it up on the internet so people can remix it.

O: We let people remix a single from my album Stop the Press, put that out there. We like that sort of stuff. The whole inspiration for us being independent was the show aspect, the whole interactive style, even if it’s over the internet or whatever. We want to maintain that where people can interact with our music and do whatever they want to do with it, manipulate it, that’s cool to me. Because I think eventually something really dope could come out of that. I’ve heard some shit that’s pretty tight, but I mean like if someone is out there just looking for an opportunity to do something with it and they just need the right sound or whatever and we could be a part of that, that would be dope.

AC: What are the current projects you guys are working on?

T: We’ve got Vulture’s Wisdom Vol. 2, probably going to start off the next year. We’ve got a new album by Souls of Mischief, we haven’t figured out the title but it’s done, produced by Prince Paul. New Casual album, Pep Love’s album called The Reconstruction, Del’s coming out with the LED EP, I’ve got an EP called THC 7. Opio came up with this idea, we’re gonna smash fools. Every week in 2009 we’re going to come out with a new song. Not a new freestyle, not a new rap over somebody else’s beat, a new song every week. So we’ll have 52 new Hiero songs plus about 5 or 6 new albums in 2009.

AC: Are you going to put all of those on iTunes?

T: Yea, they’ll all be out digital.

AC: A song every week?

T: We’ve got so much music, why not put it out? There’s no point in hoarding it because what good is music doing in the vault? Music is made to play, it’s not like money.

O: One thing is that it’s for our fans. For the people that supported us, they’re always looking for us, like, “What’s up with you guys? You guys ain’t coming out with this that and the other,” and they always want to hear something new. We have music done, but we’ll think we have to save it or whatever. But at this point in time, the way things are, people just want to hear it, they can’t stand it anymore, we just feel like now’s the time to let people get an inside look at whatever we’re doing, right then and there. We’ve never been the type of cats to just record a song and slap it on the internet or put it out. Everything we ever did came out 2-3 years after it was done, literally, I’m not even joking. Anything you ever heard was a long time ago by the time it came out. So as artists it’s something we’ve always struggled with because we’re always like, “We got some shit that’s hot, we want it out right now,” and we just never really had that vehicle. I kinda feel like now’s the time. The internet is such a community where people come together. I go there myself to listen to new music, do my YouTube thing, peep out all the underground shit that you can’t hear on the radio or you don’t see on television or whatever. There’s a large community of people out there where if we could let people that love Hieroglyphics know that you come to this one place and listen to all of our music, it’s hear for you, I think it would do a lot to re-energize our fans that have been supporting us. We got it for them.

T: We’ve got fans that are so loyal that they’ve stuck with us for the past 15, really 17, 18 years. Del’s first record came out in ’91, so some people have literally been waiting a lifetime for a lot of this shit and it never comes out. Most records when they come out, they’re finished two years or a year before they hit the mainstream, and we’re independent, we can’t do that.

O: We want to give people that, like we said, try and keep it interactive. We want people to have the experience and share it with us, like, “This is a hot song, listen!” I love that, I’m excited as an artist. I mean, we’re all owners of the label and we always have to make smart business decisions in terms of how we release our music because that’s our thing, we gotta make sure it’s right, everything’s gotta be cool. That’s still the Hieroglyphics thing, we always want quality product, that’s why we ain’t just throwing a bunch of shit out there. This is real music that we’re giving to people. For me, I want to thank the people out there that have basically been sticking with us for all these years. I can really say, with all honesty that they’ve been waiting on certain things that they just haven’t been able to get. The music is there, they just aren’t able to be exposed to it, so we’re kinda changing our philosophy about that a little. We want to expose people to our music and give them an opportunity to come in. There’s so much of it that it’s almost a crime to not let people just hear it.

AC: What are you guys looking at in terms of target release dates for the Hiero album and the Souls album?

T: Souls, at the earliest April, the Hiero by the end of the year. Because downloading has basically destroyed the concept of the album, everything on your album can be a single now, there’s no album cut. So let’s drop a song every week so people can buy that single and pick up a Hiero song if they want a Hiero song, an Opio or Tajai song, Souls song whatever. The records will then come out for people who liked what they heard in the single format.

O: We always have albums available for people at our shows, and those albums obviously have bonus materials that you’re only able to get when you buy that specific thing. Just the way that it is right now, I don’t know if people really sit down and listen to an album in the same manner, actually I know they don’t. I’m just different in my philosophy of how I listen to records, and I look for certain things, but that’s not how it’s going forward at this particular moment. People ain’t necessarily throwing on a CD, sitting down and listening to the whole thing. They’re skipping through a bunch of songs, whatever whatever, oh that was kinda cool, and that’s about it. So this way you can sit back and enjoy these songs for a week or whatever, then get a new one.

AC: Favorite conversation in Hip-Hop: Greatest album of all time. Where do you two stand? A couple that stand out?

O: It Takes a Nation of Millions comes to mind, right off the top. AmeriKKKa’s Most Wanted, Ice Cube.

T: And even that is great because of It Takes a Nation…

O: Low End Theory is almost perfection, The Chronic, 3 Feet High and Rising. 3 Feet High and Rising is different because there’s so much material on there, it’s like a carnival, I love that album, that album is crazy. Then there’s other albums for us, Funky Technician, Stunts, Blunts and Hip-Hop.

T: The Main Source first record.

O: CMW, Music to Driveby.

T: I’d say Nation of Millions.

O: There’s so many albums but the gold standard of all of that I would have to say is It Takes a Nation of Millions, cause that album –

T: Had everything.

O: Has all the elements, it was saying something as well. It was educating me on a lot of stuff as a young kid.

T: A lot of these records, that’s the one thing they’re probably missing is that educational content that damn near every album we mentioned did have, Main Source, The Funky Technician. I think a lot of rappers are OK just being rap.

O: It was about their mind power. All of those albums that we mentioned, it was all about what they brought to the table. They were mental giants. Now, that doesn’t even matter, you can be a straight mental molecule and as long as you have enough money and material –

T: Swagger.

O: It’s not even about swagger, because I give credit to swagger. Swagger everybody doesn’t have and everybody can’t get. Money is nothing, anyone can get that, it’s material things, you didn’t do anything by your own, there’s nothing that you created there. People will give a lot of credit, I’ve heard people say, “He’s wack, he sucks, but he’s got a lot of money and I respect that about that dude that he got his paper.” Who doesn’t want it? We all watch the TV shows, Lifestyles of the Rich and Famous, and we all want that, but to me, that’s not where Hip-Hop needs to be, Hip-Hop needs to be back to Takes a Nation of Millions level.

T: And it wasn’t like they were just un-positive. They were talking about all the shit that was hot in the streets, they had banging beats, they had scratches on their songs, it was connected in a way that you had to listen to from beginning to end, there aren’t any records like that any more. Fools don’t even take the time to craft albums anymore, they’re trying to craft songs.

AC: What has Hip-Hop taught you about life and what has life taught you to make you better at Hip-Hop?

O: The life experience of growing up here in the Bay Area, the diversity of thought that exists here, all the things we were exposed to, there’s so many levels that you have to understand and juggle at once. You have to be real perceptive out here to be good in your descriptions with words, but then you have to humble so when we went out, even though we had a lot of confidence in our skill and were ready to battle cats, we always paid respect and homage to all the cats who came before us. How Hip-Hop helped my life, artists like KRS-One, songs like “Why Is That?” that really helped me get a grasp on world history and these are large concepts that were coming from rap artists. Ways to live, knowledge of self, know your history, these kinds of things. There was a lot of misinformation that was going on and Hip-Hop was helping bring that to light. There is a lost past that doesn’t get talked about and this is something we need to be educated about, and that definitely influenced me in my life, through Hip-Hop, that was a vessel that helped me learn and get on the path to taking on those types of concepts. Also questioning the mainstream, like whatever I see on Fox News I’m not just going to take at face value and part of the reason I’m not going to do that and not be bamboozled or manipulated is because of Hip-Hop.

T: For me, Hip-Hop taught me about life that you have to complete what you started. Making songs, if you don’t think about it from beginning to end, it’s not going to be complete, so that’s probably the biggest lesson. That goes for business or whatever endeavor, you have to do it from beginning to end and if you don’t see it through to the end somebody else will. As far as what life taught me about Hip-Hop, it’s probably that it ain’t everything. I love Hip-Hop, it’s my favorite thing in the world, but it ain’t more important than my kid or taking a shit or something. You see what I’m saying? There are mundane things and other more important things that are more important than Hip-Hop, so you have to take it with a grain of salt. I love this, and I’ve given my life to this, but it’s not the only thing to live for.