Bang ‘Em Smurf Sentenced To 3 1/2 Years
Former G-Unit member Bang ‘Em Smurf is behind bars, jailed on charges from the incident that he claims sparked his feud with 50 Cent. Smurf is serving a 3 ½ year term due to gun charges that stemmed from a neighborhood beef that resulted in a shootout. “I was in my hood one day – that’s when 50 had kicked us off the road [from touring],” Smurf revealed to AllHipHop.com. “That’s when I first started working with Domination. I had a mixtape with Domination, and I’m on the block and my homie got a situation, and this dude he had a problem with knocked him out. Laid him flat out in front of me, and that’s my dude. So we did what we did. Dudes we got in the conflict with kept it gutter. They got hit up, they didn’t say nothing – they didn’t go to no hospital in Queens. I respect their gangsta.” It was around this time that Smurf alleges 50 Cent stopped communicating with him, resulting in a verbal feud between the two men. The timing is bad for Smurf, who signed his GF Records to a deal with Koch and was preparing to release an album in September. That plan has been abandoned and Smurf said that his album will not hit stores until October. “Me being in jail is going to help us out even more,” Smurf said optimistically. “That’s what I think. And I get to see who my real [friends] are. DJ Domination is about his business – he’s gonna grind. I’m real confident.” Additionally, Smurf said that he would use his time behind bars wisely and would get his G.E.D. “Three years, I ain’t mad at that,” Smurf said. “I can do that. I can get my business mind [right] for real, for real now. Read some books, get my GED, take some other courses. People can write to me – it’s all good, but they gotta wait til I get situated upstate. I’m still up here on the boat.” Fans can keep up with Bang ‘Em Smurf during his incarceration, buy checking out their official sites, silverbackguerillaz.com and gfrecords.com.
Simmons’ Sneaks Outselling Competition
Russell and Kimora Simmons announced that their respective sneaker lines were out-selling major competitors in stores across the country. The Simmons’ “Diva” sneaker and the Phat Farm Classic shoe moved over 36,000 pairs through 900 Finish Line stores, selling more than Nike, Reebok and Adidas in a single week. “Nike is $10 billion dollar company,” Russell Simmons told AllHipHop.com. “I remember 10 years ago when I first started in this business, all anyone bought was Tommy and Polo. Now we are competing with them and they still don’t see us coming.” The “Baby Phat” sneaker debuted this summer and helped to establish Phat Farm as one of the leading urban clothing company world-wide. “We are very excited about this news and feel strongly that our product will continue to appeal to everyone looking for a little fashion in their everyday life,” Kimora Lee Simmons, CEO and creative director of Baby Phat. Russell Simmons established Phat Farm in 1992 and since then, the venture has evolved into a global lifestyle company. In January, Kellwood bought Phat Fashions and made it a subsidiary, while Simmons received $140 million dollars. He said that the company’s revenue would double this year, from $80 million to $160 million. Russell attributed the shoe’s success to the quality of his sneakers, which he says are better than most in the industry. “No one can deny that the ‘Diva’ sneaker and my ‘Phat Classic’ are better quality and technology than Nike’s Air Force 1’s," he continued. "Those shoes have cheap old technology. Jay-Z and other rappers are doing these sneaker companies a favor by putting themselves with these sneakers. The real truth is we don’t need them [the sneaker companies].”
Outlawz Not Signing With Cash Money
The Outlawz have announced that their highly anticipated signing to Cash Money Records is not going to happen. A spokesman said the initial deal was never finalized and they are now exploring other options. “The Outlawz were waiting two months for their advance and Cash Money never signed the contract,” the group’s official website reads. “The Outlawz had to move on because they have a few other things on the table and they don’t want to sit around and wait, because that’s not normal business practices.” In June, fans got wind of the initial deal, but group member E.D.I. warned even then that the two parties were still in negotiations and things were not final. “Honestly, this thing has leaked too early. The deal isn’t done yet,” E.D.I. told AllHipHop.com on June 8. “Just off a little bit of talk, they are starting to talk about it on the radio. It’s all over the place,” he said. “To the fans we know it’s disappointing, but that’s the life of an Outlaw,” the website stated. “Hopefully a new deal will be finalized sooner then later.” In related news, former Outlaw member Napoleon recently shot a video for the Tupac tribute song "Never Forget," which also features Val Young (lead vocals on Pac’s “To Live & Die In L.A.”). The video features appearances by Big Syke, Mopreme, Muszamil, Hassachi Ryda, Macadoshis and others and hits outlets in mid-September.
Kings Dominion Cancels Annual College Hip-Hop Fest
Black Entertainment Television and Paramount’s Kings Dominion theme park in Virginia have pulled the plug on their annual College Hip-Hop Fest. According to a press release, the festival was yanked due to poor attendance. The annual event drew students from nearby black colleges in the area, as well as others up and down the east coast. "We are disappointed but unfortunately, the number of students participating has declined to the point where it doesn’t make sense for us to host it," said Richard A. Zimmerman, executive vice president and general manager of Kings Dominion in a statement. The park refused to divulge their actual attendance numbers and the statement made no reference to the shootings that took place after the daylong festival in the past two years. Last year, two men were shot in the theme park’s parking lot as thousands of people were leaving. In an attempt to keep trouble out, organizers of the event made it more difficult for people other than students to attend the festival, requiring students to present a valid college ID to purchase tickets. Additionally, over 100 deputies were assigned to work Kings Dominion’s parking lots and police stepped up their presence by putting almost four times the regular amount of officers on the streets of nearby Richmond. "The relationship with our sister Viacom company Paramount’s Kings Dominion has been a mutually successful one, and we’re grateful for all of the hard work and dedication shown over the years," BET President Debra Lee said in a statement. During the seven-year annual event, Kings Dominion and BET helped raise over $250,000 for black colleges, as well as $50,000 for BET’s campaign to raise awareness about HIV in the black community.
LL Cool J: The Marathon Man
There are few people in Hip-Hop as dominating as LL Cool J. If you’re an adult now, he was there when you were probably still a kid. If you’re younger, LL was likely around before you were seeded. But both young and old know LL Cool J as an icon. With no sense of history, this man has reigned always. In these twenty years, LL’s made some mistakes. He’s crossed over, crossed back, and crossed out competitors the whole time. In an exclusive interview with AllHipHop.com, LL confronts his triumphs, some of his mistakes, gives wise insights to the oncoming election and explained his new album The DEFinition. Mr. Smith, we followed you then, salute you now, and we don’t dare mention retirement. AllHipHop.com: What was your aim for this album? LL: My aim was to make a record that could play at 1:15 in the morning in the club. And to make something new, and to challenge and stretch myself a bit and not repeat myself in terms of what I did. In terms of what single I dropped, the video I put out, my whole approach to it, I wanted to stretch myself. I wanted to challenge everything. Thus, I put out hits from the “challenge myself” intellect, to make the game interesting. I’m loving the success that it’s having and I feel great about the way it’s exploding around the country. Even internationally, it’s really doing well and I’m very thankful. I didn’t want to do anything political or social. Well, social is a different word because fun is social. But I didn’t want to do anything political. I wanted it to be pure entertainment. AllHipHop.com: Why not political? LL: I think that… for me, there is enough of that out there and there is a time and a place to do that. One of the greatest services that I can supply mankind with, apart from the interviews and my life, is to give them an opportunity to take an hour and forget about their problems, the strife, forget about what’s going on in the world and have a good time. I think as an artist, we have the responsibility. That’s part of the reason why people make music, why people paint pictures, and why people sculpt, and why they do what they do, to let people escape and give them that vibe. AllHipHop.com: I kind of disagree with that. Not that I disagree with you doing that, because that has been your zone for the majority of your career, but now there’s no balance in Hip-Hop. So when you were out, there might have been a Chuck D. LL: I understand what you are saying on that, but I think that at those times you have to listen to the deeper meaning. A lot of what Chuck was talking about and the things he was dealing with was about the government and how they treat the community. My perspective is more about how the community treats [itself]. That is very important to me. I’m very much one who believes in self help. I have faith in God and I believe that we have to raise our children. We can’t ask the government to do that. For me I would rather set the example, through the actions. By doing the things I do and not limiting myself, by being willing to take risks. A lot of times words are important but they have to coincide with what’s in your heart. Because if you speak a d they don’t coincide with that’s in your heart they are empty and meaningless. It’s important to me, whatever I do, that it coincides with my heart. Whether it’s my imagination, whatever, it has to coincide with what’s going on inside of me so that I can look people in the eye and feel good about what I do. So for me at this point in my career, making a political album would not be real for me. I have said the things I wanted to say just like on the one in the morning record when I said, “Uncle LL I got product for sale so I can bail Al Sharpton out of Jail.” Its funny but when you think about it its necessary. AG Gaston had to be around to bail Martin Luther King out of jail. So you have to read between the lines. I said, “Get my Bentley park on and them give my dogs platform to bark on.” If you pay attention to that economic empowerment is the key to all the freedom we are seeking politically. It’s the Bob Johnson’s and Oprah’s and God willing, the LL Cool J’s that are going to make the difference and make all of those political dreams that partly Chuck D and others talk about even possible. We need to make sure that the focus is correct. AllHipHop.com: Did you recently just go to the Democratic Convention in Boston? LL: I went to the convention, but I went to [perform at] the Rock to Vote concert. And what I said after I finished performing was, I’m not here to endorse any particular candidate. I said that if there is any candidate that is looking for my endorsement, we have to meet face to face and I need to know what their plans are and how they are going to affect my community, and then America as a whole, and then my community within America. I have to know what the plan is. I’m not going to lend my name and my credibility. I respect them of course. And I said it respectfully because you have to respect the people that are running for the leadership of our country because this is a great country. And I do love this country because it has given me a great opportunity. Regardless of what our ancestry is, ultimately we are all here because of our ancestry. So whether good or bad, at the […]
New Edition: Call It A Comeback
When Boston grade school pals Ricky Bell, Michael Bivins, and Bobby Brown formed a singing group in 1978, they may not have known the impact that their decision would make over the next two decades and beyond. Within two years of getting together, they added Ralph Tresvant and Ronnie DeVoe to the group, and were eventually discovered by Maurice Starr after a series of talent shows. In 1983 they released the album Candy Girl independently on Starr’s Streetwise label with the hits “Candy Girl”, “Popcorn Love”, and “Is This The End”, and were eventually offered a deal with MCA Records. In 1984 they released their self-titled double-platinum MCA debut, which spawned the hits “Cool It Now” and “Mr. Telephone Man”. As the boys’ vocal maturity was beginning to progress, they completed the platinum All For Love album in 1985 before any of them had even turned 18. Bobby Brown chose to pursue a solo career in 1986, and came so hard on his debut album that fans wondered what would become of New Edition without him. Nevertheless, the group was reborn in 1989 with the classic double-platinum Heart Break album, with Johnny Gill fielding the spot that Bobby left open. The success of “If It Isn’t Love” and “Can You Stand The Rain” further solidified the young legacy that New Edition had created for themselves. Meanwhile, Bobby Brown’s second solo album, Don’t Be Cruel, was on its way to selling an amazing seven million copies. All the members split after touring for the Heart Break project to pursue other endeavors. Ralph Tresvant and Johnny Gill both enjoyed platinum status with their self-titled solo albums in the early 90’s. Ricky Bell, Ronnie DeVoe and Michael Bivins formed Bell Biv DeVoe, and catapulted to the top of the pop charts with their Poison album, churning out five hit singles and selling over three million copies. More albums were released from each camp as the individual artists attempted unsuccessfully to match their previous sales numbers. Michael kept pace with his own label and management company, discovering groups like Boyz II Men and Another Bad Creation. Johnny linked up with Keith Sweat and Gerald Levert to form LSG. Ronnie got his real estate license. Bobby stayed in the headlines. In 1996, all six men, Bobby included, met up in the studio to record the Home Again album. The reunion gave New Edition two big hits with “Hit Me Off” and “I’m Still In Love With You”, however after a promotional tour for the album, they chose to go their separate ways once again. In 2004, New Edition is back like a phoenix from the flames of perceived obscurity. Sean “Puffy” Combs signed the men on with Bad Boy to record again – this time without the notorious bad boy, Bobby. Michael Bivins and Ronnie DeVoe took some time to speak with AllHipHop.com about the challenges that comeback kings face in today’s music scene. AllHipHop.com: Talk to me briefly about signing to Bad Boy and coming back out – how has that been for you and how did that come about? Ronnie: We were on tour in Summer 2002, touching all our die-hard fans, and Puffy happened to be one of the people at one of our shows, and saw that we still had it and were still relevant as a group. So he got in contact with Mike and asked questions about the present position of our record label, because we had some problems with our record label at the time. But Puffy was willing to do everything to smooth the situation out, along with our lawyers, Mike and our manager. We are here now and we have an incredible record out. AllHipHop.com: ‘Hot To Nice’ is the new single, and you just shot the video right? New Edition: Yes it is. AllHipHop.com: What’s the theme of the video, what’s going on with that? Mike: Well it is actually Hype Williams coming out of retirement to work with New Edition; we never had that opportunity before so that is very special. It is very sensual; it’s right there but still TV-friendly. I actually saw a Q-Tip video today, and it reminded me of how he got away with going right there, without them making him cut the stuff out. This is what Hype did with us – he brought the song out even more. He gave the song a look that you don’t hear or can’t really see when you just play the record, and I think he mastered that very well. AllHipHop.com: Who are some of the producers that you guys worked with on the album? Ronnie: We worked with some classic producers – Jimmy Jam and Terry Lewis, they handles their business with four joints on there. They are representing for the true new Edition fans. We also have Stevie J on there, which was a big thing for us. Some new and upcoming producers; Ryan Leslie has a few joints on there. We have tracks from the kid Nephew from the Dr. Dre camp so we have a little bit of the West Coast flavor. It’s a great balance of classic New Edition and the bounce of Bad Boy. As well as the Bel Biv Devoe Energy, a little Johnny Gill energy you know. AllHipHop.com: So with the September 28th album, what’s the title of it? Mike and Ronnie: One Love. AllHipHop.com: Let’s talk a little bit about what happened on the radio in New York earlier this week. There was some conversation about New Edition’s relevance in the marketplace in 2004 and beyond. What do you guys have to say to those critics who are non-believers? Mike: It’s just a thing that you have to understand here in New York City, they have taken a stance that a couple of the radio stations have taken; that it is important to program a lot of rap. You have a lot of R&B people who were on when we were off, that […]
Rowdee Black Giants: Breaking Conventions
When you hear the name Rowdee Black Giants, you might start thinking about some testosterone infused heavy metal version of Living Colour, a group of b######## guys screaming and destroying musical equipment. Actually, The R-B-Geez, as they are called by their fans, don’t destroy their equipment and they aren’t even a bunch of Black guys. Initially, the R-B-Geez are an odd looking collective of emcees and rock/funk instrumentalists, but when they begin playing, all thoughts of their odd appearance are absorbed by the dopeness of their music. With percussions and horns that are undeniably Hip-Hop, and attitudes that yield the improvisation of jazz and the edge of rock, the group is an unseen force in music. Sounding like neither Linkin Park nor The Roots, the R-B-Geez musical fusion manages to avoid mimicry, but instead exemplifies originality and innovation. They have been creating a buzz in their home town of Philadelphia as well as cities like New York, so Allhiphop.com Alternatives caught up with some members of the group to chat about their history and their future. AHHA: Who are the Rowdee Black Giants about? Mutation of Greatness (M.O.G.) (emcee): The R-B-Geez are exactly what the name says, the Rowdee Black Giants. Our name has nothing to do with color or anything like that, it’s a statement saying that if everybody is doing one thing in the game, we are going to do what everybody else isn’t doing. The whole vibe is just all different types of cultures, all different types of people, putting that together in a pot and giving you this musical gumbo. That’s why we got cats from Ireland, cats with Hungarian backgrounds, we got emcees straight from the hood, and we got cats with college educations. We want to show people that we got all these different types of people making this wonderful music. Da Average Man Earnin’ (D.A.M.E.) (emcee): Everything right now is at a stand still. We got a lot of groups, a lot of radio stations, a lot of mass media pumping the same sex and violence and we are here to destroy all of that. We are on the same path as Public Enemy back when Chuck D said he wanted to be the Black CNN. Ed Docktor (bass player): As an instrumentalist, the R-B-Geez really give me a wide open range of expressing myself all different ways. I have a more rock background but this group allows me to groove more. I can really have fun with the music, stay in the pocket or make it melodic. AHHA: What’s the symbol represent? The chicken, the shovel, the mic, all of that seems very calculated, break it down. M.O.G.: This group has been in existence since about 1988. It was formed by two Emcees who are the elder statesmen of the group, Rowdee (Darryl Evans) and Black (Derrick Ward). Me and D.A.M.E., we were the young boys of the group, we were just trying to get our feet wet. After a ten year hiatus, me and D.A.M.E. picked the group back up and we kept the name to express our loyalty to the family. A Black Giant is a special breed of gamecock used by Tyson and Purdue to mate with their chickens to build real strong, powerful birds. If you want a bird to kick some ass, get a Jersey Black Giant. So that’s why we took that name, the gamecock just represents that aggressive ass bird that’s used to build stronger minds and build people up and make them the best that they can possibly be. The mic and the shovel represent our waking people up—just like roosters do—to dig what we saying. So that the whole breakdown of what the mascot represents, it shows loyalty and our purpose. We’ve been brought together to build stronger people to build stronger minds and to expand cultures. AHHA: What’s a Rowdee Black Giants live show like? Ed Docktor: You can tell that we’re having a lot of fun on stage, we communicate a lot on stage. Even songs we play in set come across different because we all have some many different backgrounds. We have musicians from Ireland, they bring an Irish sound, I’m more of a rock and blues guy and we all just blend it together. We try very hard to make every song different cause we all are a bunch of song writers whether with a mic, a bass or drums. We try to give the crowd a good time and I think we do. M.O.G.: It’s that gumbo sound. It’s blues, funk, rock, jazz, it’s so many different styles of music. And when you combine them with a Hip-Hop bass line, you can jazz the guitars out, you can rock the guitars out, you can funk them out, it’s just totally refreshing. D.A.M.E.: So many different genres that we break them all. AHHA: Through music, society has been able to see people of all different backgrounds and cultures collaborate and fellowship. Why does it seem that society is so slow to yield that same positive fellowship? Ed Docktor: Because most of society isn’t interested in dealing with our differences. Music is just such a great forum to bring all kinds of people together cause you really see how much you really have in common with each other. When you play music with someone, you have that bond with them and all the little differences don’t matter at all. I think it’s great that all kinds of people can get together and create something beautiful. AHHA: What’s going to make 2004 a successful year for the R-B-Geez? Rowdee: It’s time. It’s something that has been in the works for so long and it’s survived so many different mutations in line ups, that I think we’ve finally got the right mix now. Everybody’s head is pointed in the right direction and it’s time for the world to experience the Geez. We want to feel the buzz, we want to walk the […]
Connected
Artist: The Foreign ExchangeTitle: ConnectedRating: 3 1/2 StarsReviewed by: Mark Cilantro Way back in 2002 I was in Cues record store in the heart of Philly right before The Roots Phrenology hit the streets. Steph Tatas had the advance promo copy and a friend and I were bugging off of Water. At that point he told me, Every now and then you hear a record that shows you where you want to go as an artist. About a month later we were in the office discussing Jazzy Jeffs The Magnificent and I remarked that this was the record that was going to redefine the sound of underground/indie Hip-Hop. It had been a couple of years since Black Star and the belt was vacant. The team that Jeff had assembled had combined the purist aesthetic of the Fat Beats crowd, the R&B sensibility of the Black middle class, and the ground level authenticity of the streets of Philadelphia, Brooklyn and Washington, D.C. Why am I talking about a Jazzy Jeff record when this is supposed to be a Foreign Exchange review? Because Connected proves my Nostradamus (or is that Nastradamus) like prediction of 2002 correct. Foreign Exchange is Dutch producer Nicolay and 1/3 of Little Brother, Phonte. This is the 3rd solo project from the Justus League crew (following Gods Stepson and Murs 3:16) and the 1st time the LB emcees have stepped outside of 9th Wonder production. The story goes that Phonte and Nicolay only met after the record was done and only a few months before the release. They corresponded via email and sent each other tracks and vocals over instant messenger; truly a testament to the digital nature of our generation and this industry. But as I overheard someone say at the Beat Society showcase held at the NYCs Knitting Factory, Why should I care? Now, I am not as much of a hater, or maybe I am too much of a nerd, to agree 100% with that statement, but whatever the story is, it comes down to the beats and rhymes. Nicolay does a fine job and comes up with some gems, but at the end of the day this record is designed to quench your Little Brother fix. As much as Little Brother are viewed as the descendants of A Tribe Called Quest, Pete Rock and CL Smooth or De La Soul, they are more akin to being the younger sibling of Common. Phontes throwback and every man appeal was pioneered by the C to the O, double M-O-N. Raw Life reaffirms Phontes disdain for men with sandals and the bohemian lifestyle that we first heard on The Listening, Bringing it live with no disguise or camouflage / drop the yo-yo and stop n##### from putting sandals on / we handle ours from booking to rhyme management. On Brave New World Phonte rocks over one of Nicolays best offerings about 9/11, health benefits, SARS, MTV Cribs and the eternal capitalistic paper chase. Now we travel worldwide full throttle / scared to catch SARS so we cancelled all the shows in Toronto / This rap s### aint all about hoes and supermodels / its more about me making this money to pay my car note. Other standouts including guest appearances from D.C. areas own Critically Acclaimed and Oddissee and Ken Starr. Big Pooh and various Justus League members appear throughout but their contribution to the project is marginal at best. It should be noted that similar to the aforementioned Jazzy Jeffs Magnificent there is a strong R&B (more rhythm, less bullsh*t) influence on this record. So those looking for the strict boom-bap may be disappointed while those who want a little smoothness will be pleasantly surprised. The new direction of post Native Tongues MCs is a safe one. This is the safest record yet. It is carefully polished and designed to alienate few and recruit many. It would have been interesting to see Nicolay and Phonte takes some more chances and open up some more chambers. But in a world where fundamentals have become superfluous, if not an unnecessary ingredient for success, we need to count our blessings.
Nas Rocks Central Park
On “Genesis,” the intro to his debut album Illmatic, a young Nasir Jones remarked: “When it’s real, you doing this even without a record contract.” Fittingly then, Nas took it back to the beginning with a free concert in Central Park yesterday (August 15) to mark his ten-year anniversary as a recording artist. “This is real hip-hop,” the Queensbridge emcee told the audience after he entered to “N.Y. State of Mind.” “Not that fake s**t like 50 Cent.” Nas, wearing sunglasses, a wife beater, black jeans, and a pair of Air Jordans, also had some choice words for the Diplomats, which brought more cheers from the crowd. But the attention of the audience quickly turned elsewhere. While Nas was performing an outbreak occurred outside of the concert area as fans that were left out of the show suddenly rushed the venue from all sides attempting to get in. The interruption caused a ten-minute delay as members of the New York Police Department restored order to the concert. During the delay, God’s Son called for peace and ranted against both presidential candidates, calling President Bush a “gangsta” and Senator Kerry a “punk.” As the concert resumed, Nas continued with his hits off Illmatic and brought Q-Tip onstage with him to perform “One Love.” Tip praised Nas calling him the only rapper to represent life in its totality. The former A Tribe Called Quest front man, however, was only the first guest of the afternoon. A few cuts later, AZ and Nas were reunited as Sosa and Escobar when they performed “Phone Tap,” which Nas dedicated to the hip-hop unit of the NYPD. On “Life’s a B*tch,” AZ effortlessly ripped into his verse as he calmly came from backstage to surprise the crowd. Nas, on the other hand, appeared winded as he stumbled over his verse and finished each bar in a jazz scat fashion. Although the Bravehearts, Large Professor and his fiancée Kelis were onstage, Nas went through most of the show without a hype man. That’s until Busta Rhymes inexplicably joined him to ride shotgun on “Hate Me Now.” The animated emcee brought the audience to a high pitch as he did his best Spliff Star impression. “Get your mother f***in’ hands up,” he barked. Mobb Deep showed up to rhyme alongside Nas during “Eye For An Eye.” With Havoc and Prodigy flanking Nas, the trio looked like the Three Kings of QB. Nas then squashed any lingering beef with P as they hugged after a performance of “Got It Twisted.” “I love these n*****,” Nas proclaimed to the crowd. After performing a medley of his hits, Nas told the audience there was one particular song he didn’t perform anymore, which only made them want it more. “Ether, Ether, Ether,” they chanted as Nas easily acquiesced. But after performing only one verse fans began to boo before Nas started the track once more. “Y’all crazy,” Nas said to another chant of “Ether” when he stopped the song again after the second verse. “I got love for that brother [Jay-Z].” Nas closed out the afternoon warning young girls to stay away from R.Kelly on “I Can,” popping to “Apache” before performing “Made You Look,” and catching the spirit on “One Mic.” Earlier in the day, an exhibition of sorts of the Four Elements of Hip-Hop served as the opener. A DJ battle was held between two participants; one a Japanese man who said he lived in Queensbridge only to draw a chorus of boos when he attempted to mix over a Jay-Z track. Crazy Legs and “the new generation” of the Rock Steady Crew participated in a break dancing routine. And members of the Tats Cru tagged a banner throughout Nas and Mobb Deep’s performance. Although spoken-word artist Saul Williams performed, the only MC fans were celebrating on this day was Mr. Jones. Lead by DJ L.E.S., thousand of finger pointed towards Nas as fans recited the chorus to “You’re Da Man.” And on this summer afternoon, he certainly was.
Prison Officials Investigating Shyne’s Phone Records
The release of Jamal "Shyne" Barrow’s album Godfather: Buried Alive has hit a snag, as prison officials claim the incarcerated rapper may have violated inmate rules by doing business from the prison phones. Officials took Barrow’s phone privileges away today (August 16) and are now investigating that rapper’s phone calls. If he is found guilty of violating the rules, the victims of his 1999 shooting at Club New York will be able to sue for the proceeds of the album. Barrow is being scrutinized over almost 100 phone calls that the state Department of Correctional Services say are violations. Under state laws, prisoners are barred from calling cell phones, have calls transferred, conducting business over the phone or calling unauthorized media contacts. Officials claim Barrow did all things. "If a call is transferred to a cell phone, we have no idea who that call is going to or where that person is," Department of Correctional Services spokesman James Flateau told the Associated Press. "In a post Sept. 11 world, we’d like to know who inmates are talking to." In addition to his phone privileges, Barrow is barred from face-to-face interviews as well. Barrow was sentenced to a ten-year prison term for his role in the shootout that wounded three bystanders were wounded in the melee. The rapper signed a deal with Def Jam worth almost $3 million dollars. Godfather: Buried Alive, sold almost 200,000 copies the first week. The album is expected to land in the Top 5 on Billboard’s Top 200 Albums chart.
Mr. Complex ‘Enters’ Film World
While rapper Mr. Complex works the underground circuit and tours throughout the globe, during daylight hours he works in a world much different than underground Hip-Hop. As a production assistant [PA], Mr. Complex works with assistant director’s on various commercial movies and is planning his own film. While some may find it difficult to maneuver in such different arenas, Complex says there is nothing to it. “It’s a business man, it’s a crazy game,” Mr. Complex told AllHipHop.com. “It’s like the underground world. You can make a lot of money independently [but] everything has to go right for you.” According to Mr. Complex, who has recorded and performed with the likes of Mos Def, Pharoahe Monche, Masta Ace, El Fudge, El-P of Company Flow and De La Soul, the transition into a job outside of emceeing was not that difficult to make. “You know I’ve been with these Hollywood people,” he said. “These artists and actors they know who I am, you know what I mean? When we get in the car they start quoting my rhymes. It bugs me out when these people know. People like Farrah Fawcett [one of the original cast members of Charlie’s Angels]. I was riding around with her, she was listening to my songs, you know, reciting my rhymes back to me.” Another is Will Ferrell, who is currently one of Hollywood’s brightest comedic talents. Mr. Complex has a cameo role in an upcoming film with Ferrell called “Winter Passing,” where he is featured as a DJ. With film experience under his belt, Mr. Complex said that he will release his own low-budget flick, “Enter The Complex.” “It’s like a spoof of [Bruce Lee’s] “Enter The Dragon.” “I should be done with that in a few months. I had to go on this international tour to find this dude called ‘the cookie man’ who was bootlegging our stuff. So while I was on the road, I’m running around filming. It’s crazy and it has a lot of people in it. I shot it in Germany, Switzerland. I’ve probably done more place than anybody man, ’cause I’ve been going out of the country since ’97. My passport got maybe one or two spaces left.” “Enter the Complex” is slated for a fall release while his album Twisted Mister is in stores now.
Remy Martin: The Champ Is Here
During Jay-Z and Nas’s battle of boasts, Jay would often compare their lyrical tirades to boxing. Although his comments were made partially to quell the fears of another battle potentially going wrong (Biggie/’Pac), for the most part, his assertion was correct. For instance, rappers spend just as many hours recording in the studio as boxers do training in the gym. And each witty bar by a rapper against his opponent stings just as much as a stiff jab by a boxer against his. But while the men’s divisions of rap and boxing are fraught with testosterone-filled rage over disrespect and the argument against who’s number one, the women’s stage is decidedly less crowded. Enter Remy Martin, the Laila Ali of rap. This Bronx-bombshell is the undisputed female champion of hip-hop. Check the unwavering confidence she displays as she sashays across the screen in the “Lean Back” video. Peep her rapid delivery on “Yeah, Yeah, Yeah,” as she spits: “If you fronting then I will flip/ I’ll give it to a lil’ chic real quick.” And don’t forget she’s battle tested, too. Just ask Lady (no) Luck. But Ms. Martin leaves that all between the ropes if you will. Outside of the ring, she’s surprisingly as domestic as Martha Stewart, enjoys Jeopardy, and has a crush on a certain somebody you know. She can’t be going soft can she? Watch for the hook. AllHipHop.com: What’s going on, Remy? How you doing? Remy Martin: I’m fine. AllHipHop.com: You sound real relaxed right now. Remy Martin: I’m chilling. They got me in the [Universal Records] office; they got some like metallic green couch, mad juice and stuff. I don’t know where the cookies and potato chips is, but—Hell yeah. Hold on one second, wait, wait. Let me see if somebody can open my soda can. [laughs] They asking me, ‘Is there any specific cookies or potato chips you want?’ The good kind, hello? AllHipHop.com: So they treating you much better now? Remy Martin: Yeah. [raps] When you first come in the came they try to play you/ then you drop a couple of hits, look how they wave to you. I couldn’t have said it better. AllHipHop.com: And now you got them running to get you the kind of cookies you want. Remy Martin: I don’t even care. I’ma test it when we on the phone while we doing the interview. I’ll be like, Nah, I don’t like these kind, I need something else. We’ll see if they go back. Let’s just test it. Nah, I’m playing. I don’t do sh*t like that. AllHipHop.com: Now you’re on Terror Squad/Universal, and I wanted to ask you about that, because we had a previous interview with you in November and you were saying business wise, you wanted to go somewhere else from TS. You didn’t make it sound like beef, but you said you and Joe were so cool that you couldn’t go business. Did something change? Remy Martin: Now we have more people, like, Universal is a big label so it’s not like just me under Terror Squad. I have Terror Squad, I have SRC helping, I have Universal, so I have all these different outlets. Say me and Joe, we just can’t figure it out. I say I feel one way, he say he feel another way, we won’t just keep arguing forever AllHipHop.com: It always seems like every female rapper needs a male rapper to co-sign for them. Like with Biggie and Kim, Jay-Z and Foxy, but with you and Joe it seems different. Obviously TS is a co-sign, but it seems like you and Joe are on the same plane. Remy Martin: Because it’s like that with Joe. But actually Joe’s not the one who brought me in. Pun brought me in. So, rest in peace, if Pun was still alive, it’d probably seem more like that. The Biggie-Lil Kim, Jay-Z-Foxy. It’d be more like a Pun-Remy. Being that Joe’s not one of the super-lyrical rappers, so it’s like we’re kind of on the same playing field. And they never downplayed me. Like he [Joe] never put it as without him there’s no me. It’s like I always did my own thing to whereas I wouldn’t be overshadowed by him. I never wanted nobody to think, ‘Oh, it’s because of Joe.” Even though it’s still some people that say that. But Joe doesn’t feel like that and neither do I. AllHipHop.com: You made big news with Fight Klub [an underground New York emcee battle] versus Lady Luck, now that you’re moving onto the mainstream, are you retired from Fight Klub? Remy Martin: Now, it’s crazy, you don’t even know, like every week I get at least 10 to 20 calls. ‘Oh yeah, this girl named Kill-A-N*gga from West Bubbleville says she’ll battle you for $500 dollars. She better than you.’ I’m like, Come on. I have a lot more to lose than I had then, but everybody wants to just beat me now. No one even cared before, now everyone wants to battle me. Why does everyone want to fight me? F*ck. Let me blow first. Leave me alone. Listen, I got an album to drop. AllHipHop.com: Right now, it’s a lack of female rappers in the game. Foxy don’t got anything going on, Rah Digga’s album is in limbo. Do you think that helps you or hurts you? Remy Martin: How do I feel about them? Stay wherever they at, don’t drop a song, don’t do nothing, let me be the only one. I’m having so much fun. I hope they never come out. [laughs] That’s f*cked up to say, it’s gonna look bad when they read it. [laughs longer and takes deep breath] Nah, I wish everyone the best of luck. Just don’t drop when I drop. That’s all I got to say. Matter of fact, just don’t drop at all. It’ll even be better. AllHipHop.com: I wanted to address the rumor mill with you. There’s the one about […]
Nas Part 2: Fear & Loving
It’s been ten years since the prophet of hip-hop breathed new life into the game with the release of his instant classic Illmatic. Dropping science, dropping emcees and sometimes even dropping the ball, Nas takes it all in stride as he prepares to release a double disk CD to celebrate the past decade of delivering the word to his people. Like a double edged sword the responsibility his skills garnered him of saving hip-hop has been a blessing and a curse, but his love for it all has been the driving force behind his continued pilgrimage to enlighten the masses through rhyme and reason. Often crucified by the media or over zealous emcees trying to capture his crown, Nas finds the truth truly has set him free to be who he is and if that means hip-hops savior so be it, but it’s going to be his way, or no way. AllHipHop.com: What bothers you the most about what people say about you, or what’s the biggest misconception about Nas? Nas: I guess everybody listens to what people say, but now I’m like just a name so people can say whatever they want that doesn’t have anything to do with me. AllHipHop.com: Let’s talk about the woman in your life, what was it about Kelis that caught your attention? Nas: Umm, it’s so many things; I guess it’s just the easiness of it all, everything is just easy. Even when s**t is crazy with me and her, s**t is easy at the same time. I’m an easygoing person and she’s that way too in a lot of ways, she’s a Leo so she’s fiery too but everything is just easy. AllHipHop.com: So is she the one? Nas: Oh yeah, that’s what I said as soon as I saw her. AllHipHop.com: Does it bother you when past friends criticize you? Nas: Nah, it kinda freaks me out because I don’t see myself like other people see me. You can ask my girl and she’ll be like, “Aw that n***a, it ain’t nothing special going on.” So whatever they have to say kinda freaks me out in a funny way because I’m like, “Wow I’m somebody they even thought twice about.” Because I don’t even think that heavy on s**t and I’m just like wow and then I wonder is that because they got love or is what? It’s just really odd to me. I just didn’t know I was worth talking about so I guess I just really feel honored AllHipHop.com: Over the past ten years how would you sum up what your career has meant to you? Nas: It scares the s**t out of me sometimes, when I realize there’s really not somebody whose been around as long that’s progressive, focused, and on this path. There’s people around because they’re alive, not because they’re relevant, and that makes me feel like scared to death because what makes me relevant? Each time I drop an album I know they’re gonna be like, “Oh that sounds old school or that sounds like what is that, or why isn’t he making me bounce?” and I wonder when they’re gonna say, “F**k this guy.” But as long as they’re still down. I’m always surprised that people can still relate to the stuff I’m doing. It just scares me sometimes. AllHipHop.com: So when you go into the booth, do you think, “I need to give the people something to think about,” or something to move to? Nas: I’m always trying to go to the next step because I’m always in the studio saying, “I need to give the people something to think about,” and then that becomes corny because people catch on to that. Then I have a whole slew of MC’s trying to do that or outdo that, and I don’t want to be in a category in that level. I want to be in the category that we’re all trying to reach a higher ground in this s**t ya know? AllHipHop.com: What are some of your challenges of today? Nas: You know, your children are your true reward. It doesn’t matter about material, so just to see my daughter coming out the right way, coming out into a young adult and then my future children that will be my biggest reward. So that’s also my biggest challenge/ Raising the children and making sure they come out on top; bigger, better, and smarter than I could ever be. AllHipHop.com: Now I have to ask about the Snoop situation with him talking about you and Pac in the park, what’s your take on that? Nas: I didn’t understand that, I really didn’t. All I can say is, God Bless him. AllHipHop.com: So who were the producers on the album? Nas: I did a lot of it with Salaam Remy, Chuckie Thompson and LES. AllHipHop.com: AZ was talking to us recently. Are you gonna do an album with him? Nas: Yeah I want to. I know he brought that up to me and I put him on my CD and me and him did a joint on there that’s kinda fiery. But we’re just trying to find the sound of it and then we’ll go. I know it’s something that we talked about doing before. But I been hearing about it lately but I think dude is on fire man AllHipHop.com: So you have one more album with Sony then what are you gonna retire? Nas: I been really trying to do things in moderation. I was thinking about running for President but I really don’t want that obligation or type of commitment to an organization so big and so old and so scary. I would like to contribute some dedication and hard work to the struggle and if that means taking a stand or voicing opinions on political issues. And if that meant taking a title of some kind, then I’d rather do that for a short period of time to help lead the way […]
The Blast Radius
Artist: InsightTitle: The Blast RadiusRating: 3 1/2 StarsReviewed by: Maurice Downes It’s difficult to know what angle to take when talking about a new album from Insight, this one called The Blast Radius. Long-awaited doesn’t quite cut it as you could say that about a bunch of releases, though with the respect he’s garnered in the underground you could start there. You could talk about all the hats Insight wears, this album being both emceed and produced by the man in his very own studio. Or, you could talk about his Boston heritage (by way of New York and Cali). Never mind all that, though, because it turns out that The Blast Radius needs nothing to introduce or explain it. The first thing that may strike you about The Blast Radius (no pun intended) is how it wouldn’t be out of place among the Hip-Hop of the early 90’s. It just has that East Coast Hip-Hop sound (Tribe Called Quest, Redman, Pete Rock and CL Smooth especially comes to mind) with beats that are manic-rhythmic at one time and jazz-looped at another. Whether this is intentional or not is a topic for debate, but you can’t help but take notice. Luckily, it’s damn good early-90’s sounding stuff, and on top of that it sounds like an artist who was shaped by his influences, not one who’s copying them. He gets to wear his influences well because he knows his strengths on the boards and on the mic. The production doesn’t lag in any way. It holds your attention throughout the length of the album, and nothing feels like filler just waiting for a vocal. The beats change mood when they need to, though in general it’s pretty standard Hip-Hop stuff that doesn’t take too many chances. But again, it’s so well done that you won’t mind that it doesn’t take you anywhere new. Insight’s emceeing doesn’t come off like an afterthought, either, and the tracks lead us through some dense, often soul-searching material… you know, in addition to the typical threats to take you out should you battle him. With a combination of hopeful innocence and worldly experience, The Blast Radius touches on subjects like simple rhyme boasts on Hazardous Material to a humorous look at annoying “friends” on Bother Me, and then suddenly gets deadly serious about life and its progression on Evolve. His wordplay is clever enough, but it’s the lyrical dexterity of Insight that will catch your attention the most on this album. His flow is steady and strong without a misstep, and proves to be the most individual weapon in his arsenal. But it’s all of Insight’s weapons that make this one what it is: tight production, heavy emceeing, and affecting tracks. As an album, especially an underground release, it’s not groundbreaking material, but this one will stay in your mind long after the end plays out… ensuring that you are caught by The Blast Radius.
AHH Stray News: Butterfly, Royce Da 5’9, Ja Rule
Ja Rule, Ashanti and R. Kelly will appear on “Wonderful,” the first single from Ja Rule’s upcoming R.U.L.E. Ja Rule’s album hits stores November 9, one week prior to the release of Ashanti’s third album, which is untitled. Royce Da 5’9 is preparing to release a new album, M.I.C. The 16-track album is Royce’s third release. The album is a collaborative effort between Royce and upcoming producer Nottz. The album is being released through Sure Shot Recordings and hits stores on Oct. 26. BMI’s 2004 Urban Awards will be heavy on Hip-Hop performances this year, with such heavyweights as Kanye West, Pharrell Williams and The Hip-Hop Violinist Miri Ben-Ari performing. This year, The Inc.’s Lloyd and Teena Marie will give a tribute performance to Al Green, recipient of this year’s Icon Award. Ishmael “Butterfly” Butler, formerly of Digable Planets, is featured in “A Sexy Love Fest,” a dramatic collection of poetry, three one-act plays. Black and white photography by actress Kimberly Scott (Soul Food) is showcased as well. The plays run from August 26-29 at The Playwrights Horizons and one matinee at the Nuyoricans Poets Café in New York on August 29.
Godfather Buried Alive
Artist: ShyneTitle: Godfather Buried AliveRating: 4 StarsReviewed by: Robert DeGracia Shyne Po has been manifesting lasting warfare memories long before droning gavel knockings set the prelude to his conviction. Although 2009 dates his prison release, Godfather Buried Alive not only provides answers for today, but stirs echoes of gangster classics past. Shyne radiates a newer street persuasion in the mafia epic; he sweeps up all lingering street savagery and combines it in an untamed version of a Brooklyn Scarface. Not to be confused, Godfather isnt gory as it is ruthless. Shyne callously rides into the sunset beginning with the Kanye West produced More or Less, a drugstore cowboy cinematic revue, injected with Western whistles that screams modern day Clint Eastwood. Shynes vigilant Wild West renegade arrives back at his locale, revisiting enemies that are soon to suffocate in his vengeance. As Foxy ignites a chorus behind Shynes walk in fire, his flow breeds volatility unbridled in tenacity and tirade, G is a G, a key is a key, a snitch is a fish, with no fins, they cant swim and I dump em in the river. In another combo, The Gang, the two surprise by co-signing their own hot Brooklyn signatures to the 95 Raekwon-Nas classic Verbal Intercourse. In fact, Godfather is more about a by-product of Shynes tumultuous brainstorming activity behind bars. He successfully composes intelligently twisted prison rhymes that instantly jump right off the paper. While Shyne refers to talking about the life thats mine, his lyrical ability is unleashed in Godfather, a devious New York City track driven by sinister strings and creaky violins. While some gangster rappers limp through illustrations of aggression and anger, Shyne expands to extended levels of mutilation and indecency, breathing wisps of vivid imagery into his own street story; My minds poison, corrupted in disease, 360 keys, money make the world spin, I make your chest smoke, have your mother singing hymns, particles in your brains up on your timbs. Longtime producer extraordinaire BucWild lays out Bob Marleys No More Trouble sample in Quasi OG, a munificent track that leans towards Shynes conscious side, revealing a recognition of hip-hops lack of a political eye. From capitalism to conspiracy theory, Shyne acknowledges the dark social spectrum that looms over the direction of Black-American youth and his prison brethren. Another notable is the dramatic Diamonds and Mac 10s, a Just Blaze produced track that is skillfully set in two tones: one of an emotive Shyne dying and cryin inside, pleading to God in redemptive calling for refuge and acceptance; the other is the opposite side of the prison wall healing worlds with exaltation, triumph and hope, discernible by big blasting trumpets and horns. Not to his discredit, Shyne lays victim to a weaker side of production. Shyne, an otherwise pop track in chorus and verse, is left embarrassingly unblessed by Swiss Beatzs humdrum claps, deadbeat bassline, and equally depressive weeping violin loop. Jimmy Choo is a similarly unsuccessful track that follows the same R&B formula as Shynes previous hit Bonnie and Shyne, but marginally lacks originality and the kick that even songstress Ashanti cannot save. Poorly laced with Murder Inc. dinky electronica disinherits any incidental chemistry between the two artists, thus making the track more suitable for a remix. For the Record, is a response to the 50 Cent threat recorded through DAT, but the result is minimal (i.e. Canibus vs. LL) and less controversial than once initially regarded. However, as Godfather commits to a deeper truth, Shynes catbird seat is high outside of Clinton Correctional Facility. He never shrouds his personal funeral hymns in anything but the darkest and most candid form of gangster-ism; appreciation of this amongst peers in the industry is widespread, but is soon met with the realization that that one of todays best is behind bars.
Former Bad Boy Exec Charged With Money Laundering
A former president of Bad Boy Records has been charged with laundering $1 million dollars in drug money through a bogus company. Kirk Burrowes, who filed a $25 million dollar lawsuit against Sean “P. Diddy” Combs last year, is accused of depositing proceeds from cocaine sales into the bank account of a company known as Gutter Keys. The indictment was unsealed in Manhattan Federal Court last week. The documents revealed that Burrowes cellphone was tapped and authorities caught him talking to a New Jersey man about using the proceeds to fund the operation of Gutter Keys. In addition to the wiretaps, the man Burrowes had the conversation with is now acting as an informant for the government. Burrowes is now the president of another company, Plan B Entertainment. He is free on a $250,000 bond and according to reports, cannot leave his Harlem, New York residence. Burrowes’ attorney Alexander Eisman told the New York Daily News that his client was being framed. "The informant in this case is a person who is facing a very lengthy jail sentence and apparently sees the fabrication of a case against my client as a way out of his own problems," Eisman said. Burrowes flawsuit against Combs claimed that he had been forced out of his stake in Bad Boy by bat wielding thugs. His lawsuit also created a sensation in the Hip-Hop community when he claimed that Combs and a group of men known as the “The Enterprise” helped orchestrate the murder of Tupac Shakur in Las Vegas, Nevada. Combs vehemently denied the charges, saying Burrowes hadn’t worked for Bad Boy in seven years. In November of 2003, a judge tossed the entire lawsuit, citing a “limitless number of decencies.”
Lil Kim Denies Allegations, Launches ‘Lil Kim Cares’ Organization
Lil’ Kim has come forward to deny allegations that she lied to a federal grand jury about her knowledge of a daylight shootout in front of Hot 97’s New York offices in February 2001. "I am completely innocent of the charges I have been accused of, and am very confident that my co-defendants and I will win this case in the courtroom," Lil Kim told AllHipHop.com in a statement. "This case is a witch-hunt against the Hip-Hop industry." As the trial approaches, Kim is stepping up her charitable work and has announced the formation of the Lil’ Kim Cares organization. "We are encouraging fans to send letters with requests and charities which they would like me to visit,” Kim said. “In coming months, I plan to be involved with a number of causes, including ones for homeless and battered women, group homes and runaway kids, all issues, which have affected me personally in past years. I am just getting started and won’t allow this case to deter me or stop me." Authorities claim the shootout was sparked by a rivalry between Lil’ Kim and rapper Foxy Brown. While Kim was not present during the shootout, she had appeared on Hot 97’s show earlier in the day. The confrontation started as the rest of Lil’ Kim’s entourage was leaving Hot 97 and Capone of Capone-N-Noreaga and his associates were entering to promote their album The Reunion. On “Bang Bang,” a song taken from The Reunion, Brown laid down a scathing verse aimed at Kim and her album The Notorious K.I.M. The resulting confrontation left one man seriously wounded when he was shot in the back. Police seized a security camera video tape that captured the incident. They claim that as Kim’s Limo started to pull away, it paused quickly and allowed several men to jump in before speeding off. Lil’ Kim was indicted for perjury and obstruction of justice. The case goes to trial Feb. 28, 2005.
Sabacolypse
Artist: SabacTitle: SabacolypseRating: 3 1/2 StarsReviewed by: DJ L.K. (Low Key) Think Non-Phixion is all about sex, drugs and violence? You don’t even know the half. Sabac Red, the groups most overlooked member, is an emcee with a message. Following in the footsteps of great social and political emcees like Chuck D, Sabac is a rebel with a cause. Sabacolypse is his testament to bringing about a change, not only in the urban community, but globally as well. His debut solo album, Sabac is able to bridge the gap between the streets and politics. Each song on the album is broken down into one of the six categories; truth, awareness, vision, voice, militance and solution. It is obvious that Sabac intends to deliver a strong message with each track on the album, as he addresses everything from AIDS on “The Scientist”, to police brutality on “Fight Until The End”. However, the album’s finest moment is Sabac’s most optimistic effort, “A Change Gon’ Come”. The beautiful song epitomizes Sabac’s message throughout the album. Sabac paints a picture of social and political turmoil, but through it all, he knows change will happen. Sabac is a representation of a true emcee, as he uses his voice as a means to educate and uplift. He is a soldier for the people and for everyone who is oppressed in this world. If there is one thing listeners can take from Sabacolypse it is that even through all the turmoil and grief, Sabac is always preaching that a change is going to come. There is always light at the end of the tunnel, and even though it may continue to get darker, Sabac will always be fighting for change.
I-20 Explains ‘Self Explanatory’
After being featured on six songs from Ludacris’ two albums and Disturbing Tha Peace’s Golden Grain album, rapper I-20 is preparing to drop his solo album, Self Explanatory. According to the rapper, his album will be a memorable release in the annals of Atlanta’s Hip-Hop history books. “It’s an explanation of me,” I-20 says of his album. “I speak through my music. I’m coming from leftfield and I’ve got a good, wide range of music. I’m going to put the exclamation point on Southern Hip-Hop music. No one is doing what I’m doing musically, lyrically. Outkast and Scarface came before me, but I’m bringing a defining moment in Southern Hip-Hop history with my album.” And while he appeared on Luda’s songs, which are usually more carefree, I-20 says fans should expect his solo debut to be more serious than his mentor’s. “I represent the ‘Disturbed’ in ‘Disturbing Tha Peace.’ I represent a different side, the bleak reality of what’s going right and what’s going wrong in America. Regardless, I’m going to give it to you honest.” And like a select few rappers that are starting to state their political views, I-20 states his opinion on the United States in the song “I Pray for America.” On the song, I-20 explains how he feels America will pay for the alleged injustices committed across the planet. “I wrote it because I see life for what it is,” I-20 continued. “Now don’t get it twisted. I love America, but we’re a hustle country. I wanted to let people know that I’m aware of what we’re doing. We’re a bully. America realizes it’s the only superpower left.” The album features production by Kanye West, Salaam Remi, Jook and Shondrae as well as guest appearances by Chingy, Three 6 Mafia, Juvenile, Shawnna, Ludacris and others. Self Explanatory hits stores September 21. The full track listing is below: 1. Eyes Open (Intro) 2. Meet the Dealer feat. Ludacris 3. Fightin In The Club feat. Lil Fate, Tity Boi, and Chingy 4. The Realest 5. Backstage 6. Break Bread 7. May Sound Crazy 8. Hennessy and Hydro feat. Three 6 Mafia 9. Point Them Out feat. Juvenile 10. So Decatur 11. O.G. Anthem 12. Slow F###### feat. Shawnna 13. Kisha 14. Hey Shawty feat. Devin The Dude 15. The Realest remix feat. D-Block
