Two mixtapes, two weeks. The 50 Cent presently before the music industry closely resembles another rising rapper of the same name that had yet to get rich while trying before dying. From an industry point of view, there are those that doubt whether 50 Cent the multimillion-dollar man can reclaim the momentum he once had. Little do they know deep within the recesses of money and power lies that same antagonistic, bar none individual that claimed the streets and those boardrooms. 50 Cent has released War Angel for the hardcore Hip-Hop fans and Forever King, a mixtape that channels the 90’s. Love it or hate it, 50 is back and, unlike the title of his debut, just being rich just isn’t enough. This is just the first part. AllHipHop.com: First, can you speak on the War Angel LP and what it represents? 50 Cent: To me, the War Angel LP represents what I fell in love with in Hip-Hop. It isn’t there any more, it doesn’t exist anymore. A lot of the actual artists, I felt like…my assessment of the artist was the artists was trying to reach the audience by being like the audience instead of being themselves and bringing the audience to them. Of course selling records and making a living for themselves is a priority from the perspective of an artist that comes from a “starving artists’ space.” They watch what works and as soon as they see what works, they all do the same thing instead of sticking to their [own] style and waiting for that moment for their music to impact. And, that’s when you really feel that impact, because you stand your ground and write from a perspective, you know, that’s in your heart. The War Angel record, it was the complete CD for my core. The person that hears track one, loves all 12 of those tracks. There’s no question about it. The response I’ve been getting from it makes me feel like I made the right decision with that record. AllHipHop.com: You sound hungry. 50 Cent: And this one, I just did [Before I Self Destruct] all over again and [now] this is Forever King, [his newest mixtape]. AllHipHop.com: Is there a new mentality that you have now? In particular with War Angel, you sound hungrier than normal. 50 Cent: Its more like the original 50 Cent music and it feels like just went I get a chance to relax and “do me,” that comes out. That comes out easy. That’s my first nature. That’s the actual, the character, what I have to be to get by in the environment I grew up in. to make that is not as difficult for me reaching… The records they were complaining about were the commercial records. Those [records] are work for me – to make the right ones. Obviously, over the last six years, I’ve been able to manage making the right records that work at radio and everywhere else commercially while you have that content that your core wants. AllHipHop.com: How difficult is it to balance that though? Obviously, when you do a commercial record that is a smash it does take away from your base. Your base becomes unhappy. 50 Cent: Look what you just said. When you make a smash, it takes away from your base. AllHipHop.com: The commercial songs… 50 Cent: What I’m saying to you is, the guy [rapper] that has no aggression in his music, because he doesn’t come from the environment and they have not expectations of him, can just make that pop record that you think is a smash and [sells] however many millions, radio plays, listeners hearing it and move copies based on that. Meanwhile, they want the aggressive content from me, because there is nobody else that can offer it from a space that they actually believe these people. AllHipHop.com: I want to pick up on something you said on War Angel. You said, “I think these n***as is f***ots.” You were just talking, but you went into the skinnyjeans… “Why would they go ahead and do a deal a head of time when they would be a part of the package and negotiation for me.” – 50 Cent           50 Cent: What I seen growing up, in all honesty, I think a lot of the Hip-Hop artists were emulating the drug dealer. There was a time, in me growing up, that the drug dealers had more money than artists. So, when the rope chains came those were the things that I seen guys who hustled had long before rappers had it. So I understood their motivation and [where] the Kangol and the Adidas and everything else came from. But, when you see the guys when the skinny jeans, that was the stuff that was in the Village [New York’s Greenwich Village], in a specific area. So don’t tell me an artist – a [single] artist – influenced the whole community of that many people? Then it disappoints me that so many of our people are followers in that way. AllHipHop.com: So you are saying its reversed now. 50 Cent: The artists that’s wearing these skinny jeans, these tight shirts and Mohawks, if they decide to design the clothing or develop a clothing company….[pauses] What is it considered? Urban? AllHipHop.com: Yeah… 50 Cent: Its not urban. It might be an American owner, but it’s not urban. Everything that they got on is something that you were see from a rock artist. The White-oriented younger teens had that on for a long time. For me, skinny jeans was for you not to catch your pants on a skateboard. If you not riding skateboards, why you wearing it. AllHipHop.com Lets talk about G-Unit a bit. Can you speak on the status of G-Unit a little bit? 50 Cent: Everybody’s intact, as far as Yay [Yayo] and Banks, they are both recording new records. When their music is 100% dead right, you’ll probably be hearing […]

When you hear the name Crime Mob, the moniker is almost always associated to hood drama. What happened to a once promising group lacks a clear story. Ex-member Diamond has evolved from a teeny bopper chick in stilettos to a full grown woman with her own thoughts, opinions and life experiences. These experiences include her time with Crime Mob. She has recently released a mix tape titled “*P.M.S*. (Pardon My Swag),“ inked a solo deal with Warner Brothers and is ready to prove that she has much more to offer than the fad of crunk music and drama. AllHipHop.com: How are you feeling Diamond? Diamond: I’m good. I’m ready. Drinking my Cristal. AllHipHop.com:That’s cool. How did you initially become involved in rap? Diamond: My sister was rapping. She was 15 and I was 10. She was in a rap group. I used to write poems. I tried to do it as well but decided to focus on my poetry. The group eventually broke up and they decided to focus on their childhood. Time went on. I grew up and about a year or so later I met the group. AllHipHop.com: How old are you? Diamond: I’m 21. AllHipHop.com: What is happening in your life where you feel that this is the time to drop a solo project? Diamond: Everyone in the group has dropped solo mix tapes. As far as doing a solo album, we weren’t seeing eye to eye on business and partnerships so we all decided to part ways. Warner Brothers signed me solo and now my album is about to drop in September. AllHipHop.com:What was the reason you broke up? Diamond: To make a long story short, we were already having problems. Princess and I were supposed to be doing an album but we weren’t seeing eye to eye. I was nominated for an award by myself at the Dirty Awards in Atlanta and I wanted to walk by myself. The group gave me an ultimatum and said if they can’t walk with me then I can’t be in the group. I’m like for real? Ya’ll don’t even run the group. We all signed the piece of paper. They started doing their own thing and doing shows without me and I just focused on myself. AllHipHop.com: Why did you decide to name your mix tape *P.M.S*? What is the acronym? Diamond:  I feel like every woman can relate to it. Only a lady can speak for the ladies. Going through PMS, you go through a lot of changes in life. When you first start, it could be age 12 to 50. It is about different transitions. Whether I am in the club having fun, I also talk about the group more and what happen with that. I knew that it would catch a lot of attention. It stands for Pardon My Swag. AllHipHop.com: I also want to touch on the you tube footage of you and Princess having what looks to be a verbal cat fight at Souljah Boy’s Birthday party. Was that some left over baggage? Diamond: I call it a joke, sarcastic, but not cool type of situation. It was like I’m not going to hit you and I know you aren’t going to hit me but what’s been up with you? Back and forth. I see that a lot of s### didn’t go the way that you expected it to go. So this is what you look like and this is what you doing? There was a point where she was doing shows and stuff and talking stuff. I don’t even want to give this too much energy but I am answering it just to let everyone know that I don’t have a problem answering anything. I’m not scared of any questions. It is what it is. AllHipHop.com: Do you still talk to any of the other members of Crime Mob? Diamond: I seen Psycho Black at the gas station and we spoke to each other. That’s the only person I have seen or spoke with. AllHipHop.com: Alright, back to the music. Your single “Super Bad” is with Cee-Lo. How did you link up with him? Diamond: My A&R is cool with Cee-lo and his manager. My project came and they were like we have just the record for you. So we knocked it out and that was it. AllHipHop.com:What was it like working with him? Diamond: He is really talented. I only got a chance to work with him once. He was really quiet and focused. AllHipHop.com:Where did your A.K.A. Ms 32 Flavaz derive? Diamond: I was thinking of all kinds of things to paint a picture to be tasteful. Whether it was strawberry ice cream, cotton candy.The 31 flavors stuck out to me. So I was like if I can just add me on then that would be 32 flavors. I want to be favorable all over. I want to be peach candy all over. I want to be every flavor you could dream of. I’m the 32nd flavor of the 31 flavors. AllHipHop.com: Some younger girls might consider you a role model. Do you consider that when you are writing your lyrics? Diamond: Funny that you ask me that. I have a song called role model. I have a situation back in 2007 where I got into some trouble with the law and there was a lot of speculation and people talking about stuff that they really thought I gave a f*ck about. They didn’t even know what was going on with me. I’m a leader but I’m not a role model. A role model has to be perfect. I am a leader because I try to teach girls that have 3 or 4 kids that whatever you want to do then do it. You have the opportunity to see my life with a microscope and to see my faults. I can’t see that with you. So, you can’t look at me as a role model and criticize me. I’m not […]

This moment has been a long time coming for Maino. Trials and tribulations had to be signed, sealed and delivered for the ultimate understanding of this Brooklyn hustler. If Tomorrow Comes is the testament to this rapper’s pain and struggle and the album plays like a novel. Straight with no chasers, Maino careens over the concept of the album while dropping thoughts about his native life, death and his native New York. Truly waving at haters now, the underground maven re-introduces himself…his name is Maino. AllHipHop.com: I quote “08′ was great if you was on your grind, but I’ma tell you what’s gon’ go down in ’09…” There were the first two bars from your “2009 Predictions” track. Your album’s finally here, did you predict that? Maino: Oh yeah at the ending I said, “I’m going to predict that I’m going to be the next to blow.” I told people I was coming, they didn’t believe. A lot of people doubted that this day would come, which is all cool because I’m cool with being the underdog you know. AllHipHop.com: I was relieved to see the minimum features on the album. What was the process and stand point going into the album? Maino: Did you listen to the album yourself? AllHipHop.com: Yeah, I actually listened to it; it’s put together well. I liked it. Maino: Thank you. See the thing with that is I wanted to tell a story. I wanted to tell a story about me coming out of jail with a dream and the obstacles I was up against trying to make that happen coming out of jail, getting back in the street, having one foot back in the street- no foot in the industry at all. It was hard so I couldn’t tell that story with having a lot of features of there. It would have been impossible; it would have been a disservice to me and the fans. For me to do all that time, then pushing my album back, and then to finally come out with a record with 30 features on there… Unbelievable, it would have not been a good look. AllHipHop.com: Considering you hooked up with T-Pain for the “All The Above” track, how do you feel about the D.O.A. track? Maino: I don’t feel anyway about [Jay-Z’s] “Death of Auto-Tune.” I don’t think the auto-tune thing is going to be dead. That’s a lot of people livelihood for one. I mean it doesn’t really apply to me, you understand. But I don’t think one person can stop a movement. I mean the auto-tune thing- I don’t see it really stopping. My story on the album is almost just as accurate as it really happened in my life. It’s as accurate as possible. I tried to make close as possible to real life and that’s what it is. It’s like an autobiography- a book. -Maino AllHipHop.com: How did you manage to hook up with B.G. for the “Gangsta” track? Out of all the collaborations you could of had, what made you reach out to B.G. for this track? Maino: Because it makes sense. First of all B.G. is a very good friend of mine and it made sense to have him on my album. Why not two gangstas on the same record? AllHipHop.com: I was curious to not see if Lil’ Kim would be on the album. What’s your relationship with Lil’ Kim now? Were you two ever romantic? Maino: No, we weren’t. Maino- “Til’ I Die” AllHipHop.com: I love how your skits break up into scenes representing the process of breaking into a record label deal. Are the scenes realistic to your personal journey? Maino: Exactly. It was very realistic. AllHipHop.com: How would you say your experience was going into the whole record deal business? Maino: My story on the album is almost just as accurate as it really happened in my life. It’s as accurate as possible. For me to make it into an album and with the scenes, those are different portions of my life that I was going through. The stuff that I was feeling at the time, I was trying to get into the industry and I’m like “Man I’m caught up. I got a son- a brand new baby, I’m on parole, I’m in the street, I got baby mama drama, I’m still in the street… Am I ever going to be a rapper?” You understand? So this was I was faced with and you know the album, I tried to make close as possible to real life and that’s what it is. It’s like an autobiography- a book. AllHipHop.com: Now in current state of the industry we’re in, do you find it hard to stay relevant since it’s so trendy and constantly changing? How do you stay relevant and successful without having to feed into the current fad? Maino: By just staying true to who I am- doing what Maino does. The thing about that is I do what I do you understand. I’m in my lane, I carved out a lane for myself, and that’s the lane that I’m going to continue to be in. I’m going to continue to stay true and making music that I think my fans love. AllHipHop.com: With everything being so trendy, do you think Hip-Hop still has creativity? Considering what’s being presented and pushed in Hip-Hop, how do view the creativity in Hip-Hop? It’s really not much there anymore. Maino: Right. It’s really not there. There’s a lot of cookie cutter stuff. Everybody’s following this and that. At the end of the day, it to each it’s own. Just as much as I can’t really get with that, I don’t have time to complain about that either. I just gotta keep moving and keep pushing. Hopefully what I’m doing can come to the forefront of the game and we can make the same kind of impact. “Well, it works two ways. The internet can hurt you- like in the […]

The landmark Bridge Wars ended and made careers . The latter applies to Blaq Poet, who was then a brash, cocky teen looking to make a name for himself at the expense of KRS-One’s BDP (Boogie Down Productions) and affiliates like Just-Ice.   Now over 20 years later, Poet is a musical elder statesman in his legendary Queensbridge neighborhood.   And on Tuesday (June 30), the Queens vet released his most anticipated album in the Blaqprint, executive-produced by long-time collaborator and legend DJ Premier.   With a Hip-Hop market drastically different from the one he entered in 1987, Blaq Poet is out to prove the seminal East Coast Boom Bap sound still has a viable audience.   AllHipHop.com: Obviously, Blaqprint is a play on the word blueprint. What was the process and direction you were looking to take this new album?   Poet: It’s all street, everything is street. It’s Hip-Hop, hardcore, [and] gangsta. It’s more Hip-Hop than anything else; hardcore, amped up music that n*ggas haven’t heard in a long time. [It’s] a lot of hood tales, stories, bragging a lot, [and] talking a lot of sh*t. I’m basically doing me.   AllHipHop.com: You’ve been working with Premier for years now. I know you guys have developed chemistry, and the thing about Premier is that he can be a perfectionist. He has no problems telling an emcee he’s not feeling the rhyme and to do it over. Just looking at your own career, how do you feel you’ve progressed lyrically since your last album in 2006?   Poet: Every time with me it gets better and better. It seems like when dudes get older they get weaker…they just suck! Me? I don’t know. I stay current. My team keeps me young. My dudes keep me level-headed. They let me know if it’s not popping. But everything be popping [laughs]. So I’m going to keep it going until I hear otherwise. AllHipHop.com: When you first came into the game in the early to mid 80s, singles were a lot more prominent than albums. It was the singles where you made your name. Now in 2009 it’s come full circle where now many artists focus more on singles and ringtones than their albums. Even though that’s a surface similarity, what are the main differences you hear in singles now compared to when you first started?   Poet: Dudes nowadays aren’t even rapping a full 3 16’s. They’re just doing 2 verses, a long ass chorus, and that’s the song [laughs]. They’re not even going hard. It’s more party rhyme about the money than anything. But everything comes back 360, man.   AllHipHop.com: You were around 15-16 years old when you put out “All Hell’s Breaking Loose.” You went at everyone that had a name at that time, including T La Rock, Melle Mel, LL Cool J, Rakim, Kool Moe Dee, and the Ultramagnetic MC’s. If you look at the response to what happened between Method Man and Joe Budden, these days you’re expected to have a good resume before you test a veteran. When you came in it wasn’t like that. Even if you didn’t have a strong backing, you were given a shot against anyone if you called them out. Why do you think today’s battling dynamic is so different? Poet: Yo, if you want to take a chance, take a chance! It don’t matter. If you think you got a shot, go at it. It don’t matter to me. Some dudes are just trying to make a name for themselves. Back then when I did it I just wanted to challenge the best at that time. I figured I was the best. Method Man and Buddens? I don’t know. Budden, he’s nice, and Meth is crazy with it. We’ll see what happens.   AllHipHop.com: You’ve always been a street rapper but you can’t be accused of glorifying the gangster lifestyle. The majority of the time I’ve heard you rhyme about a street tale, 9 times out of 10 it doesn’t end well. That lets people know how things turn out 99% of the time if you live that life…   Poet: Yeah! I ain’t glorifying it; I’m just letting people know what it is. Things happen on the streets, drug dudes do a lot of things to make it. I rap about it and then at the end try to wrap it up with a little message. Sometimes it’s just straight ignorant, and other times I got a message to go along with the madness.   AllHipHop.com: The one time you were involved in something overtly political was the controversy from the “Who Shot Rudy?” track with your group Screwball. When you guys finished that song, did you expect the media firestorm that followed?     Poet: Nah, we ain’t expect that. It was a solo joint from my man Keron. Everyone had a solo joint on the album. It got a lot of political attention and popped off, but we weren’t expecting that. We went to war with Giuliani!   AllHipHop.com: Queens have a very long legacy of elite rappers, especially Queensbridge. But besides the Bridge Wars, the Bridge has never really been united. There’s always been a lot of infighting and tension. Do you think there’s anything in particular that causes these issues?   Poet: It just like brothers man, brothers always fight each other. And it goes back to the hood; people got bad blood with each other over stuff that has nothing to do with rap. But it’s always about competition and trying to outdo the next [man]. But we’re good in Queensbridge. Everybody may have their little beefs here and there, but it’s all good.   AllHipHop.com: Nas is unquestionably the biggest star to emerge from Queensbridge. However, there’s other emcees that may have been just as skilled, but didn’t get to that elite level for various reasons. What rappers do you feel had the potential but fell short of reaching that plateau?   Poet: […]

With the curiosity surrounding Pinky-Gate, Twista has penetrated Hip-Hop’s interest and is whetting its appetite with the Traxter-produced, “Wetter.” Category F5, a verbal tempest will be fully unleashed this July. Twista is learning to harmonize the tasks of being the CEO of his imprint, Get Money Gang Ent., along with being its flagship artist. “It’s hard. I love doing it and I knew what was to expect out of it. There’s so much to do and so much competition out here…you really have to go hard and be organized and professional,” admits the undaunted lyricist. Twista openly voices his goals saying “longevity is a thing that I want to obtain. When people ask me what’s the legacy I want to leave, that’s the one word that I would use, longevity. I look at my career, I dropped an album in ’90 or ’91, and I’m still right here with a jam.” Dedicating almost twenty years to his craft, Twista is constantly striving to improve his sound. He isn’t adverse to implementing new, respected styles that keeps his sound fresh. Category F5 is the album and Second Chances is the mixtape that will continue to deliver the raw to the masses. In an unbridled interview with AllHipHop.com, Twista exposes everything from his ability to massacre anyone on the mic, to which artist he’d like to work with in the future. AllHipHop.com: “Wetter” is another Twista hit. How long did it take you to complete the track from its conception to having the master on wax? Twista: We decided that we would go back and use a lot the original sounds that we used in Adrenaline Rush to create new beats—new ideas and everything. Off of the conversation, he [Traxter] had already had a track put together, with the whole vibe going… Instead of me just banging it out in the studio, I did one of my traditional things I do, which is go back to the hotel room, [and] throughout the day I started to write the track. [I] came back the next day. That’s what I did I just took it with me. I vibed on the song real good and wrote the whole song then came back the next day and laid it. Even then, we still didn’t look at it like a big jam…We knew it was a song with that original sound, but we didn’t know that we didn’t had one like we had, until it started doing what it was doing… AllHipHop.com: When is Category F5 being released? Twista: On July 14th. Category F5 is a dope definition that I picked up from the encyclopedia. That’s the reason why I titled the album Category F5. The F Scale [Fujita Scale] is a scale that’s used to describe different levels of tornadoes or twisters. The range goes up to category F6, which is unconceivable. Category F5 actually has a description, it describes cars being thrown through the air as missles, at 100 MPH; it describes bark being ripped from trees; it describes houses being ripped from foundations. It’s like a real fierce, dope description of how things get tore up. At the ends it says it like an incredible phenomenon… AllHipHop.com: Do you feel capable of ripping up the industry? Twista: Not ripping up the industry, just killing them on the album, killing them with these lyrics and these songs like how I be doing. [I’m] able to come with hits, jams, stuff for the streets—and doing what Twista do. If you would consider that ripping up the industry then that’s what it is. I’m not really with continuing the trend of rating myself with numbers and first weeks and stuff like everybody else does; I survive no matter what my first week is. I’m still here eating off rap. I don’t be focusing on that. I focus on it on the business end; but, on the artistic end I don’t focus on it. AllHipHop.com: Adrenaline Rush 2 didn’t meet the commercial success of some of your previous albums. Was that one of the reasons you left Atlantic Records? Twista: I would say the industry started to take a slight change… It was hitting everybody on different levels. [The] record labels [had to think] how can we make money if people can get this music other ways, digitally and other ways now? They had to transform from just regular record labels into these multimedia companies to be able to do what they do and make money. I didn’t fit in the scheme of a new artist. A 360 deal really didn’t fit an artist who already had a fanbase or whose been grinding and has released records. A artist like me or Fat Joe, or somebody like that, it would be more easier for us to make money and to benefit [with] us doing our thing on the independent level. With me it was a business move more so than a personal move. It wasn’t me thinking my record didn’t blow up. I knew part of the reason my record didn’t blow up was due to financial decisions that had to be made by the company. As long as we were all on good terms, and they felt that as long as I gave them what they needed, then they could let me go. I went that route. I already went the negative route and lost three or four years out of my career before. I didn’t want to take that route… AllHipHop.com: Are you the premiere lyricist from the Chi? Twista: I used to be, but at a certain point I started hearing these little n****s and I realized, okay—the real snappy punchlines and coming with it like the young ones like it. I feel like I might have lost a step on that level. But as far as what I’ve learned through experience, and how to put a song together, and how to work in the studio and have a good ear; I think I’m […]

This week’s chart watch comes at a time when many people are taking time to reflect because of the losses suffered in the entertainment world.  The deaths of Farrah Fawcett and Ed McMahon were of course shockingly sad but it is Michael Jackson’s death that seems to have affected, well….everybody and everything.  His death strained cell phone networks, almost doubled chatter on Twitter, and consumed the news networks.  Mike had such a monumental impact on music and it’s interesting to see how he affected so many artists.  (If you get a chance go over to the rumors page and check out Dwele’s tribute to MJ.) Without Michael we would never hear Nas’ “It Ain’t Hard to Tell” or Jay-Z’s “Izzo (H.O.V.A)”.  We would not have Usher, Chris Brown, Justin Timberlake,  most young male singing groups, most young female singing groups, etc…you get the point.  MTV would probably not be the same because Michael was an artist that reinvented the music video.  Is there a popular Jackson song you can hear without picturing the video? So now after watching a few days worth of Michael Jackson videos, news coverage of Michael Jackson, and (sigh) the B.E.T awards/tribute to Michael Jackson it’s time to chart the albums of the week.  (I don’t know who said it but the quote of the week: “I wish B.E.T would die and Michael Jackson had to do a tribute to it”.  But I digress). Jackson’s influence was so strong that he literally controls the charts this week, forcing everyone in the top ten to drop three spots.  He actually sets a record with this being the first time a cataloged title sold more than a current release in a week.  (Jackson actually does it three times).  Thriller, The Essential Michael Jackson, and Number Ones each sold over 100,000 copies putting them in the top three spots for this week.  (Take note that Mike passed away on the on June 25th and the sales week ends on June 28th so the bulk of his sales happened over a three day period.)  Number Ones is at number one selling 108,000 copies followed by Essential with 102,000 and Thriller with 101,000. The Black Eyed Peas were to come in at number one but fall to four selling 85,000 copies of The E.N.D.  Michael’s death also appears to have covered that ridiculous feud between Will.I.Am and Perez Hilton which was just starting to get annoying. The Jonas Brothers come in at the fifth spot with their fourth album Lines, Vines, and Trying Times.  They are followed by Regina Spektor who enters the charts at number six with her fifth album Far. The Dave Matthews Band comes in at number seven with their album Big Whiskey and the GrooGrux King which is a tribute to one of their own fallen band members.  Eminem’s Relapse comes in at number eight.  A few weeks ago I mentioned the diss song Mariah has out against Eminem.  Well apparently she is also filming a video for the song where she dresses up like Eminem.  Google those pictures and keep an eye out because their feud looks like it will be oddly interesting. Dream Theater take the number nine spot followed by Ginuwine (Yes…Ginuwine) who grabs spot number ten.  Ginuwine’s sixth album, A Man’s Thought’s, helps him to enter the charts this week and hopefully his fans will help him stay for the next. Hmmm….No Lady Gaga.  Thanks Mike. DROPPING THIS WEEK The genius of Michael was that he did what he wanted despite what other people thought.  I’m pretty sure more than one person in the studio raised an eyebrow when MJ said he wanted to make a pop song with a Halloweenish theme and accompanying 14 minute long music video.  Thriller, however, went on to become the highest selling album in history.  Word is Quincy Jones didn’t even expect the album to sell like it did and he produced it. Hip Hop artists should take a page out of Jackson’s book when it comes to creating music.  Don’t get me wrong, Michael was definitely focused on the business of music his approach was different.  He created good music with the belief that people would listen to it, like it, and buy it.  He did not however create music for the sole purpose of selling.  He did not copy what was popular and reproduce it to move units.  Hopefully, more artists can learn from Michael Jackson’s work ethic and produce music of which they can truly be proud.  Hopefully the artists dropping this week are already doing it. First up we have Ace Hood who is dropping his second album, Ruthless.  The Florida rapper just released his debut album, Gutta, last year and I for one don’t remember a song off it.  The album was apparently solid enough to move 100,000 units and grant Ace a shot at a second album.  Ruthless features Rick Ross, Akon, Ludacris, Jazmine Sullivan, and others.  If you like the sound coming out of DJ Khaled’s camp then this one shouldn’t disappoint.  Next we have an artist that had a feud with KRS-One back in 1987.  (They’ve made up since then).  Blaq Poet releases his third studio album, Tha Blaqprint, with most of the production being done by DJ Premier.  The album also features N.O.R.E and Lil Fame of M.O.P so it’s sure to have that east coast sound.  Since we are on the east coast let’s look at an artist that has been building a pretty sizable buzz in the underground community.  Maino drops his highly anticipated album If Tomorrow Comes and many of his fans can now breathe a sigh of relief.  The album features T-Pain, B.G., and Swizz Beatz plus production by some heavy hitters like Just Blaze.  I don’t think I have to tell many people to pick this one up. Next up is an MC out of San Francisco by the name of Kaz-Well.  His debut album Fish Outta Water is produced by DJ Scotty […]

The impact of Michael Jackson on pop music cannot be overstated. Since the internet is being flooded with tributes and dedications, I figured that I would add my 2 cents in. These records capture each incarnation of Michael up until 1984, when he released his smash album Thriller, one of the best selling records of all-time. I know that there are MANY records that I have left out and I realize there are many B-sides, album tracks, movie soundtracks, etc etc. As an avid record collector, I have come across tons of Jackson 5 singles, since they have sold hundreds of millions of them, so I decided to pluck out a few for your enjoyment. Mike was destined to be a Motown artist: The Jackson 5 were discovered by Gladys Knight and Bobby Taylor. The guys, as we know, hailed from Gary, Indiana. Before they were on Motown, they knocked around Gary honing their skills, first as Ripple & The Waves, then as Stars and Stripes featuring Michael, who was already a 7-year-old wiz. This is one of their first recordings, done prior to their associations with Motown. This is a double sided gem. The first side is called “You Don’t Have To Be 21 (To Fall In Love). video platformvideo managementvideo solutionsfree video player You can hear already that Joe Jackson had every intention on making sure his children sounded like adults, despite the fact that Michael cannot be any older than 9-years-old on this record. Flip it over and you get “Some Girls Want Me For Their Lover.” video platformvideo managementvideo solutionsfree video player What I like about this is you can hear this young man slick talking like he’s an adult. And it’s convincing. Even in this undiscovered gem, there is no denying that later groups like The Sylvers, Brighter Side of Darkness, New Edition, New Kids on The Block and countless others snagged their styles from the guys. The Jackson 5 were introduced and subsequently signed to Motown after both Knight and Taylor witnessed them performing a rendition of “My Girl,” originally a hit for The Temptations, at Harlem’s famed Apollo Theater, in 1967. In order to add some sizzle to their story, they concocted a story that Diana Ross found them, hence the title of their breakout album Diana Ross Presents: The Jackson 5, which was released in December of 1969. Taylor was repaid for his valuable discovery, as he produced most of the group’s debut album, which spawned the massive hit “I Want You Back.” Immediately the guys went to work, churning out records that would stand the test of time. In 1970 the guys were in full swing. Here’s “Darling Dear,” one of my favorites out of the three albums The Jackson 5 released that year alone (Their version of Smokey’s “The Love I Saw In You Was Just A Mirage” is wicked too). video platformvideo managementvideo solutionsfree video player If fans thought all The Jackson 5 were going to be releasing was “Bubble Gum Soul” like “ABC” [as Berry Gordy attempted to label it], they were pleasantly surprised again, with this adult-themed track, “Maria (You Were The Only Love),” which featured vocals arrangement by Willie Hutch. video platformvideo managementvideo solutionsfree video player In 1971, the group was hitting its best stride in my opinion. This is when they dropped the Maybe Tomorrow album. Maybe Tomorrow is a great album, which contains the gut wrenching title track, which has put the author of this piece to his knees many times. It also contains the standout track “Never Can Say Goodbye.” In the year 1972, The Jackson 5 snuck this little B-Side in called “We’ve Got A Good Thing Going.” video platformvideo managementvideo solutionsfree video player That record could very well by my favorite of the lot, but who can really decide this things, when they were also releasing B-sides like “Love Song” as well. video platformvideo managementvideo solutionsfree video player You can hear Mike’s voice start to mature around this time period (1972-1974), when the group started to flounder a bit, due to Motown business. Also, both Michael and Jermaine started solo careers carefully crafted and executed by Motown. Around 1975, the group’s relationship with Motown was reaching the end, but the label was still releasing gem’s like this one, titled “Take Me Back.” from the album Forever Michael, which contains the scorching ballad “One Day In Your Life.”  video platformvideo managementvideo solutionsfree video player In 1976, The Jackson 5 left Motown, which legally retained the name The Jackson 5. The guys became The Jacksons, dropped Jermaine, added Randy and teamed with Gamble & Huff. Here’s “Good Times,” one of the best songs Michael Jackson and the guys ever released. TWO BONUSES: Motown continued to release records by Michael Jackson, even after he was gone. In 1984, when Michael hit big with Thriller, the label released this double sided doozy: “Farewell My Summer Love.” This is a great record that I listen to each “Farewell My Summer Love” as I reminisce about the summer loves that have come and gone in my life. video platformvideo managementvideo solutionsfree video player Flip it over and you get “Call On Me,” which pulls my heart strings. I can only listen to this one at certain times, or the drunk dialing start and my Ex’s phone might start ringing. 😉 video platformvideo managementvideo solutionsfree video player R.I.P.MICHAEL JACKSON FROM ALLHIPHOP.COM AND ALL OF HIP-HOP.

The sudden death of the Legendary King of Pop, Michael Jackson, has everyone mourning. Jackson’s music has influenced the lives of people from all walks of life and reactions are emerging. AllHipHop.com has followed the reactions of rappers, actors, singers, politicians and socialites and they tweet their reactions on Twitter and other social media outlets.Quincy Jones, long time producer and genius behind MJ’s most sucessful albums:I am absolutely devastated at this tragic and unexpected news. For Michael to be taken away from us so suddenly at such a young age, I just don’t have the words.   Divinity brought our souls together on The Wiz and allowed us to do what we were able to throughout the 80’s.  To this day, the music we created together on “Off The Wall,” “Thriller” and “Bad” is played in every corner of the world and the reason for that is because he had it all…talent, grace, professionalism and dedication.  He was the consummate entertainer and his contributions and legacy will be felt upon the world forever.  I’ve lost my little brother today, and part of my soul has gone with him. (Source: Vibe.com) Hip-Hop Reacts to Michael Jackson: Sean “Diddy” Combs says: “Michael Jackson showed me that you can actually see the beat. He made the music come to life!! He made me believe in magic. I will miss him.” DJ D-Nice adds: “I’m not mad at MTV. They are going in with the MJ videos. It’s appropriate since MJ was the king of videos. –tuning in.” Talib Kweli tweets: “RIP Michael Jackson. Greatest performer ever.” Busta Rhymes mourns: “GOD BLESS THE JACKSON FAMILY…BE STRONG AND OUR PRAYERS AND BEST WISHES GO OUT 2 THE JACKSON FAMILY!!!!!TO THE MAXIMUM LEVELS!!! MICHAEL JACKSON UR THE GREATEST TALENT EVER KNOWN 2 MANKIND.R.I.P. & GOD BLESS.” Fabolous writes:  “If it is true, We need 2 celebrate this man’s incredible music career.. the things we saw him do, records hit broke, hits he made.. Legend… Ed McMahon, Farrah Fawcett, & now Michael Jackson…. I really cant believe Michael Jackson is dead. Michael Jackson dying is so crazy. i actually feel a lil’ f##### up inside.. As a kid i idolized Michael Jackson. R.I.P to the King of Pop.” The Pop World to Michael Jackson: Cassie says: “There are no words…. Sending all of my love and prayers out to the Jackson family.” Pussycat Doll Melody Thornton writes: “For all who live for the music I’m sure u r feeling the way I am today! The tears don’t stop! I just can’t get it together… Every Michael Jackson Fan in the world let’s be happy he will forever sing from the heavens!!! The Greatest Ever!!!!!” Danity Kane’s Dawn Richard adds: “MJ died the 25th , Aaliyah died the 25th, Static Major died the 25th, Left Eye the 25th too, James Brown 12/25 … I’m so devastated …” Hollywood Reacts: Actress Lauren London continues, “Michael Jackson?!. It feels like someone called me and told me a family member passed away. Since I could remember…there was always MJ.” Actor Tristan Wilds says: “He was a hero to some, a dad to a few, a friend to many, but the King to all. To my hero, Michael Jackson, rest in peace.” Los Angeles socialite/ reality television star Khloe Kardashian chimes in: “So tragic what happened today…I got my MJ shirt on to keep him closest to my heart! Still in shock.” California’s Governor Arnold Schwarzenegger writes: “We lost a great entertainer and a pop icon. My thoughts and prayers go out to Michael Jackson’s family, friends & fans.” ### Michael Jackson was pronounced dead on June 25th at 2:26 pm [PT] at the UCLA Medical Center. He arrived at the hospital at approximate 1:14 pm [PT] and a medical team tried to resuscitate him for over an hour before announcing the time of death. The cause of his death has not been confirmed, but reports are citing that the singer died from cardiac arrest. Three children survive the 50-year-old icon, Michael Joseph Jackson, Jr., Paris Michael Katherine Jackson and Prince “Blanket” Michael Jackson II.

“Alfamega ain’t never snitched on nobody.”-Alfamega Part 1: Looking Back Alfamega may be one of the most misunderstood artists in the South. Originally introduced to the world as the “Grand Hustle Muscle,” the man born Cedric Zellers made an impressive debut holding his own alongside T.I. and Busta Rhymes on the 2007 single “Hurt.” But following the release of the single, T.I.’s arrest on weapon charges and the Atlanta-based Grand Hustle camp’s beef with fellow WestSide representer Shawty Lo, fans saw more of the towering 6’4 rapper than they heard. He released the buzzing single, “Uh Huh” on a Nitti beat, with a T.I. feature and even filmed and released a video for the song. But his debut album I Am AlfaMega was pushed back twice before being buried in the land of “to be determined.” Still, Alfa remained loyal to the brand that T.I. built. In April and May 2009, however, both his life and career were forever altered. First, in an incident that remains clouded in secrecy, Alfamega wound up not only under arrest, but in a hospital bed with two broken legs and multiple other injuries. Shortly thereafter, the release of court documents from over a decade ago sparked a nearly insurmountable scandal for the rapper. In a culture that vilifies anyone thought to violate the code of the streets, Alfamega was labeled a snitch by the court of public opinion. He was subsequently dropped from the Grand Hustle roster… or was he. In part one of an exclusive interview, Alfamega and his manager Reek Walker, share with AllHipHop.com the details that lead to his current position in the game. AllHipHop.com: So, I guess we can’t call you the Grand Hustle Muscle no more? Alfamega: I’m Alfamega, you ain’t gotta call me the muscle. AllHipHop.com: We know that something happened between you and the police. And we got one accounting of it, but of course, we didn’t get it from anyone that was actually there. Are you able to talk about it? Alfamega: I caught a case. Really, it ain’t nothing to talk about right now ‘cause it’s an open case, so I’ll let my legal team handle it. AllHipHop.com: What kind of charges are you looking at? Are you able to say that? Alfamega: They gave me three charges: convicted Felon in possession of a firearm, and two felony obstructions of a police officer. They didn’t wanna give me no bond at first, then my lawyer kept going. AllHipHop.com: If you don’t beat the charge, what kind of time are you looking at? How does this affect your future? Alfamega: If I don’t beat the charges, it is what it is, I’m going to jail. Reek Walker: [The sentence] is based upon his legal team. AllHipHop.com: Can you give us any details about how this happened? Alfamega: Man, I don’t even know. Believe me. I was told it was a routine traffic stop. Then I was told it was an altercation at a bar and somebody pointed my truck out. I was like, “Oh, ok. Whatever.” AllHipHop.com: Is your truck a common car that could have been anybody? Alfamega: Yea, a common SUV, common color: black. I gave them the license. Georgia got this thing where you can run the tag and tell if the car got insurance or not. So I gave the man my license, I was on the phone the whole time. I got a, not an eye witness, but a witness that was on the phone the whole time. But, I’ll let the legal team handle it. I don’t wanna speak upon it too hard, ‘cause it’s an open case. AllHipHop.com: So let’s dispel some of the rumors that have been floating around. Let’s start with the rumored altercation at a bar, true or false? Alfamega: That’s false. One thing about bars, especially in the Downtown [Atlanta] area, all the bars and clubs got cameras in ‘em. If I was involved in something, the cameras woulda let ‘em know who the guy was that was involved in the altercation and when he was leaving out. And I know I ain’t on camera. AllHipHop.com: The other rumor that was out there is the idea that you were on some kind of undercover assignment, planted into Grand Hustle’s operations and that this whole arrest was staged to get you out. Alfamega: Huh? By who? I got two broken legs, I done had three surgeries. So how in the hell was that staged? AllHipHop.com: The other thing was that you jumped out of a building versus being pushed… Alfamega: Lie. That’s a blatant lie. AllHipHop.com: So what happened? Alfamega: It’s an open case. I’m trying to put a lawsuit in too. “Anybody that know me, if I had did something on somebody in this city, and people knew that I was accused of doing what they accusing me of right now? Somebody woulda been stepped to me about that. Like I said, Alfamega ain’t never snitched on nobody.” AllHipHop.com: Now the biggest one of them all. Fourteen years ago, you caught a case… Alfamega: I caught a case, pleaded guilty. Received my time. I was doing my time. All the extra stuff dudes’ talking about… Anybody that know me, if I had did something on somebody in this city, and people knew that I was accused of doing what they accusing me of right now? Somebody woulda been stepped to me about that. Like I said, Alfamega ain’t never snitched on nobody. He done lied on somebody, but he ain’t never snitched. And we ain’t even gotta say Alfamega, ‘cause y’all got my name out there now: Cedric Zellers. AllHipHop.com: So, you caught this case, you pleaded guilty. You were sentenced to how long? Alfamega: I pleaded guilty from the time I was arrested, I was given 92 months. AllHipHop.com: That was the original sentence, 92 months? Alfamega: Seven years, eight months. I did seven years, four days, five hours, 32 minutes, 16 seconds. That’s […]

“People ask me about my ex-DJ (DJ Premier) and all that. We were never all that close. We hooked up in the studio and did great music, but we were never hanging and all that cool. Solar and I, we got tight before we even started doing music.” -Guru I just didn’t see eye to eye with Guru on this one. The legendary rapper and I disagreed from the onset of this conversation. I was looking to do an interview that discussed – in part – the 20th anniversary of Gangstarr’s No More Mr. Nice Guy, the seminal album constructed with the equally iconic DJ Premier. Guru’s primary musical priority is his new album Guru 8.0: Lost and Found, a collaborative effort with new partner/producer Solar. He’s got his mind made up and he moved on a long time ago. Read on as Guru explains his annoyance with the politics of the rap game as well as his reluctance to discuss the glorious past known as Gangstarr. AllHipHop.Com: I’ve heard some of the album- I actually heard the whole album, but I listened to it again today. Can you sort of speak on it in terms of what you thought you achieved with the album? Guru: Well first of all, you know the title is pretty self-explanatory you know- Hip Hop was lost, but now it’s found. It’s found with myself and my partner Solar- 7 Grand Records, being that we’re those intelligent, creative leaders that Hip Hop needs, to take Hip Hop to the future. I travel globally- we travel all over the world and everyone’s like “Hip Hop needs this, it’s lacking that, it’s missing this, it’s half a lie, it’s fed” whatever. And so this is real Hip Hop for ’09. And I wanted to say real quick before we continue that I don’t know whose decision it was to exclude Solar from the interview, but it’s just a collaborative effort and it wouldn’t be going down with Solar- he’s the CEO of the record company as well as the producer, as well as the director of all the videos. We been around the world, his production has been critically acclaimed on the previous records, you know around the world, and you know the politics that’s involved in this are not really to my liking. As a legend it’s a little bit- AllHipHop.com: What do you mean when you say “politics?” Guru: I mean to be say “Oh we just want to interview Guru” or “We don’t want to interview his partner.” It’s very you know- I’m a legend, and at this point in my career, I mean, I want to do what I want to do. I don’t really have to dictate in what I want to do, especially when it comes to promoting my record- it’s no f**king charm. I mean if it’s going to be something that’s not about this record and a trip down memory lane, then I would respectfully decline from even doing the interview. AllHipHop.com: Okay, well I mean if you don’t want to do it, then we don’t have to do the interview. I do want to talk to you about- you know it is the 20th Anniversary of your 1st album… Guru: See that’s what I mean! That’s something I don’t want to talk about. I don’t want to talk about the past. The past is the past. It is what it is. It was great, but that was then and this is now. I mean, you know, that’s just what it is. I mean there may be some artists that’s doing new music that’s irrelevant, but my music’s relevant. 7 Grand is a successful, important, independent label. At a time when the music industry is tight, when CD sales are low, we’ve been successful. We’re still running- we’re up and running, and we’re going strong. So to be forcing me- to try and force me to go down memory lane when I don’t want to is kind of insulting. It’s not even kind of insulting. Guru & Solar “Divine Rule” video platformvideo managementvideo solutionsfree video player AllHipHop.com: Nobody’s trying to force you go down memory lane. We have a series that we have artist do a retrospective on their previous records. Guru: Oh Ok! Well in that sense, I will just say that it was a great era and that was then and this is now. Now I’m adding another luxurious chapter to our already great career. AllHipHop.com: Everybody knows what’s going on with you and Premier- that’s old news now but are you. Guru: I mean what do you mean by that? There’s really nothing to talk about as far as that was then and this is now. There’s no drama attached to it you know, I don’t get it. AllHipHop.com: I’m just so curious as to why you’re so dismissive of such a rich legacy of music that you had, that you- Guru: I’m not. I’m not. Now you’re putting words in my mouth. I’m not because when we performed live in our live show, we had the number one Hip Hop/Jazz Ensemble on the planet. In our performance, we do a whole musical journey and part of that is through the Gang Starr classics, but they’re ranged by Solar and we have live instrumentation, which is incredible. How can I be dismissive of something I created? I created it. I own it. AllHipHop.com: Well I’ll just put it like that, you know from a fan stand point- because that’s what I am, a fan, I would like to hear about how those records were made and what was the thought process behind them. Guru: Yeah see that’s not what I chose to do at a time when- as a businessman and as a- let’s say I was signed to a major. The major record company would be like “You know he has a new record out that he’s promoting so he’s not going to want […]

Chart Watch June 24, 2009 We’re back with the weekly charts. This weeks charts are led by a trio hailing from the tri-state area that have taken the music world by storm. But, before we get into that group, lets note that The Black Eyed Peas album The E.N.D drops down a position to number two. The now-controversial crew still pushed another148,000 units. We’ll need to wait until next week to see how the fight with Perez Hilton will affect sales. Will.I.Am and the read of the BEP needs to be careful or they’ll lose that suburban/pop fan base they’ve been working on for the last few albums. Beef with Perez Hilton. I can honestly say I never saw that coming. Poll: DiscussionsView Results Now back to that chart-topping crew from the New York area….No it’s not the Beastie Boys. The Jonas Brothers enter the charts at number one with Lines, Vines, and Trying Times. They pushed an impressive 255K. Since we’re already talking about Disney, The Hanna Montana soundtrack is at number seven. Blame those two on the kiddie crowd. (I know the Beastie Boys line was corny but I’m trying to throw some Hip-Hop in here some kind of way. Plus I should get some kind of credit for making the ridiculous comparison of the Beastie Boys to the Jonas Brothers.) The Dave Matthews Band holds the third spot with Big Whiskey and the GrooGrux King. It’s Dave so you know his fans are going to keep them on the charts for awhile. Eminem looms at the number four spot with his album Relapse. Did you hear about the guy that says he killed his family a few days ago because of Eminem lyrics? Well after a few reports and the automatic “let’s ban Marshall Mathers response,” it turns out it wasn’t even Eminem lyrics. Wow, it really is like 2002 all over again. I really like this next band but I hate when people call them a Hip-Hop band because they, at one time, had a DJ. Incubus enters the charts with their compilation album Monuments and Melodies claiming the number five spot. Lady Gaga. Number Six. The Fame. At this point if I say anything negative about her it’s just hate. Chickenfoot’s self titled debut claims the number eight spot followed by Green Day’s 21st Century Breakdown. Finally, Taylor Swift’s Fearless, claws its way back onto the charts to hold the number ten spot. I don’t listen to her but I do think it’s pretty impressive that this album came out in November and is still holding onto chart positions. It should be noted that Tom Morello and conscious rapper Boots Riley’s indie release Street Sweeper Social Club hit the charts at number 38. Also Def Jam’s Chrisette Michele and Interscope’s Keri Hilson saw significant chart movement upward, even though their albums have been out for some time. All in all not the best week for Hip-Hop. The real winners on the chart this week – Interscope and Disney. DROPPING THIS WEEK To quote one of the comments on the page from the previous chart watch, last week was a “weak week” for Hip-Hop. Luckily there are some artists dropping this week that always bring quality music to the forefront. These two individuals have been releasing consistent material that keeps their core fan base listening. Dead Prez add the third installment of their Turn Off The Radio mixtape series with Pulse of the People. Stic.man and M-1 go green on this new album with the packaging being made of 30% recycled paper, 100% recycled plastic, and (Oh yeah) DJ Green Lantern. The Evil Genius releases another mixtape with the political duo featuring other prominent artist like Styles P, Bun B, K’Naan, and Chuck D. Dead Prez albums don’t disappoint so if you get a chance go pick it up. Next up we have a MC from the legendary east coast group Brand Nubian. Grand Puba releases his fourth solo album, Retroactive. The New Rochelle MC’s new disc also features Busta Rhymes, Dead Prez, Lord Jamar, Q-tip, Large Professor, and Kid Capri. Those that like this can also look forward to a Brand Nubian album that is rumored to be released in the near future. Let’s head down south to Houston, Texas with Z-Ro and Chill releasing The Rain. I haven’t heard too much about the album but Z-Ro’s last album, Crack, was good. If you like the underground Houston scene then pick this one up. One of the original nine members from Wu-Tang, U-God, releases his third album, Dopium. (It’s his fourth if you count the compilation U-God presents The Hillside Scramblers). Now U-God might not be the first MC that fans will name when looking forward to a solo album out of Wu-Tang but I’m hearing he’s put out some solid work this time around. Of course the album has guest appearances from Wu members GZA, Raekwon, Cappadonna, Ghostface and Method Man. If you like him then take a look at the new album. Sa-Ra Creative Partners returns with their new album, Nuclear Evolution: The Age Of Love. The group is responsible for production work for a lot of artists ranging from Andre 3000 and Dr. Dre to Iggy Pop and Herbie Hancock. I wasn’t a big fan of the first album but I’m hearing that this one is supposed to be pretty nice. You might want to give the new double cd a listen. On the west coast Cypress Hill’s Dj Muggs brings forth another Soul Assassins album. Soul Assassins Intermission features guest appearances by Bun B, RZA, Planet Asia, Xzibit, and others. The Soul Assassins series (as well as most of the albums put forth by DJ Muggs) have always been consistently pleasing. This week we also have two artists representing Arizona. Willy Northpole releases Tha Connect and C-Thug releases I Am Arizona. (With an album called Tha Connect and the name C-Thug I wonder what they are going to be rapping about?) […]

Illfonics: Time To Get IllHometown: Bronx, New York Clientele: Jim Jones, LL Cool J, Mickey Factz , Fat Joe , Jackie Chain, Young Dro, Sheek Louch, Daytona Equipment: Logic Pro on a Mac, Some analog synths, Juno-106, MS-20, Guitar and Bass   Everyone knows the story of grinding out until you finally get recognition. It takes some people a very long time before they reach a plateau of substantiality.  The Illfonics have been patiently working behind the scenes with television shows such as Rob and Big, underground artists like Mickey Factz and video games like NBA ‘07. With the recent success of their current beat with Jim Jones “Na Nana Na” it seems like they are finally going to get the credit they been waiting for.   AllHipHop.com: What initially got you guys into beat making and then becoming overall producers? Jed: We both had been playing guitar since we were real young. We met at school, NYU, we were studying music technology. The transition from beat making to instrumentalist just kind of happened. Matt: We went to school for music technology and focused on production. We were into the more electronic sounds and weird instrumental stuff. What we were making were beats, but, no one could necessarily rap over them. They were really hectic musical stuff. In 2002-2003 we decided to go more main stream with our stuff. AllHipHop.com: Why are you guys called the Illfonics? Jed: A friend of ours actually thought of it. It’s kind of like a play on the Delfonics. Matt: We were just trying to come up with names and we hated everything we came up with. A friend said you guys should call yourselves the Illfonics. We were like alright cool. It’s not that deep honestly we just kind of went with it.   AllHipHop.com: Do you guys use a lot of guitar riffs and stuff when making beats? Matt: In some of them. We use more electronic “synthy” stuff. Jed: We do Rock stuff and Pop and R&B as well. Rock stuff is all guitar and bass most of the time. AllHipHop.com: Do you think it’s harder to be in a partnership than it would be if you both worked individually? How do you guys conduct business? Jed: In terms of what?   AllHipHop.com: For instance since you guys are considered as one entity is it harder? Does one guy come in and make a beat than the other might come in later and tweak it? Jed: It goes both ways. We make beats together for the most part. There are joints that we’ve made completely separate. There are things one may start and the other person comes in and finishes it. Matt: We all kind of cover the same basis. We both use program drums or play drums. We play guitar, bass, keys and stuff so we can both take something from start to finish. Sometimes we’ll just start something together completely and finish it. As far as the business end of things, we let our manager Toshi handle that and our lawyer Paulina. Jed: We’re just doing the music.     AllHipHop.com: What was your first piece of equipment?  Jed: It was the MPC 3000 Matt: I don’t even remember…wow. I think it might have been the MPC 2000. Yet I’m almost positive I was tinkering around with other stuff as well before that.    AllHipHop.com: What’s your favorite piece of equipment to work with? Jed: The computer. Matt: We do everything in Logic. There’s a lot of stuff in there, a lot of sounds in there that we can use. We have a lot of analog synths and stuff. Jed: There’s a virtual MPC in the bottom.   AllHipHop.com: I bet everyone asks you this question, but, how did you link up with Jim Jones? What was it like working with him? Jed: Our manager is cool with Jim’s publicist. That’s how the initial connection was made. He gave Jim’s A&R a beat CD and he really felt this one beat. The beat later became the “Na Nana Na” track. He just kept playing it. Jim was in the studio and he just had the beat on repeat. Matt: He wrote down his stuff. The whole thing happened real quickly. It took about four days. AllHipHop.com: He was here in your studio? Jed: No he has his own. Matt: They started on a Saturday or something like that. He laid down his thing and then they hit us asking us if we’re still doing this. They invited us to his studio and we met Bree as she added her vocals. We all just hung out and stuff and met Jim. That night into Sunday morning we were awake doing a mix session until 6 a.m. By Thursday it was on the radio. It was nuts because the album was already closed already. Jed: They bumped somebody’s track for ours.   AllHipHop.com: So the track wasn’t even supposed to be on the album? Matt: I know the album was supposed to come out earlier, but, I think there were other reasons as well. The album got pushed back and stuff.   AllHipHop.com: Jim liked the track enough to get it pushed on the radio and stuff? Matt: Yea. He liked the single and I think they were floating two other tracks before that and testing them out. He just really liked “Na Nana Na.”   AllHipHop.com: Where are you guys going next with producing and who do you have lined up to work with? Matt: We got a track with this guy Jackie Chain. He’s on Universal and the track will probably come out in the Summer with his project. Nipsey Hussle is another one. We’re doing a real West coast track. Jed: Honestly we’re going to keep the rest f our endeavors quiet. Keep our mouths closed…haha. Matt: We got stuff in the works. We have a lot of projects we’d love to get on.   AllHipHop.com: When it comes […]

‘What’s up with the beard?’ is the question probably most put to Bashy this year. That’s because if you’ve caught a glimpse of the rapper in the last six months, it wouldn’t have escaped your attention that he’s been rocking a very thick beard. No he didn’t turn into a black activist – in response to some of the internet rumors that were circulating – he just vowed not to cut his beard until his album was complete. Fast forward six months and a clean-shaven Bashy could be seen joking about said beard at his album launch party, finally the day had arrived. It’s been a long time coming for the talented north-London MC. From the days of his breakthrough Chupa Chups and Your Mum mixtapes to becoming a social commentator for a so called lost generation- Bashy’s stock is rising quicker than anybody could have predicted. Last year he enjoyed a phenomenal year, his anthem “Black Boys” became an instant street classic in the UK and beyond. His theme song to the hit Brit flick Adulthood entered the national singles chart and was also nominated for a Best Video MOBO award. Now the 24-year-old rapper with the commanding voice is up against his biggest challenge: releasing his debut album. Featuring production from Toddla T and long time collaborator Naughty Boy – Catch Me If You Can is Bashy’s official introduction to the world. AllHipHop caught up with him to talk about the new album, his clothing range and speaking his mind. AllHipHop.com: Your album has just been released – how are you feeling about it? Bashy: I’m excited; it’s good times for alot of UK acts right now. The scene has shifted a bit so the light is really being shone on UK acts. This is a great time to put out a album and just push it as hard as you can. The response to my album so far has been phenomenal, there’s alot of people talking about it. Sometimes you can make something which you think is banging and then you put it out and people aren’t feeling it but it’s like people are reading my mind on this album – the feedback from all around is so positive. AllHipHop.com: The album has been a long time coming, why the delay? Bashy: I just wanted to make sure I got it right, I didn’t want to rush it hence the beard (laughs). I felt that I was still developing as an artist – I’m still developing now. I’m still growing and I think that’s what it was – I needed to grow to a certain point before I could do it. Bashy’s Beard AllHipHop.com: Do you think your sound has changed over the years? Bashy: I think my voice is my biggest sound, so in that sense it hasn’t really. I use the music as a score to the words that I’m saying but I have always spoke my mind, I always say what’s on my heart. I think the older I get and the more experience I acquire, gives me more confidence to do me. AllHipHop.com: Do you think the music industry is in a good place right now? Bashy: I think it’s very healthy at the moment and it’s only going to get better. We’re the new generation of artists coming through and I think we’re gonna do things that will change the face of British music. AllHipHop.com: So do you think it will be easier for artists such as yourself do break through into the top ten? Bashy: I don’t think it’s necessarily about your chart place anymore because chart success is not what the numbers are. Take N-Dubz, they’ve sold way over 400,000 copies of their album and they haven’t had a top five really. So I think it’s about selling albums, touring, clothing – making yourself a brand. AllHipHop.com: Speaking of brands, tell me about your clothing label Bish Bash Bosh. Bashy: Bish Bash Bosh is more than just a clothing label, it’s a lifestyle. We’ve got the first Bish Bash Bosh black limited edition range out now and the next line will follow later this year. It’s been getting a really good response; people keep telling me how much they like the design. AllHipHop.com: You’re very open on your blog which has become extremely popular with industry heads – has this ever got you into trouble? Bashy: Not trouble, I’m a grown man (laughs) but it has raised a few eyebrows and I’ve had a few conversations but it’s all good. AllHipHop.com: Would you ever comment on another artist’s work and how would you feel if a fellow rapper commented on your music? Bashy: I like feedback, it allows you to grow. When I finish a show I always ask people what they think, I mean what they really think. Personally I feel like I need to know, I want to know because I like honesty. AllHipHop.com: The track “Black Boys” really opened doors for you – how has it changed your life? Bashy: I think Black Boys was the beginning of the journey which has allowed me to end up where I am now. It did allow the doors to be opened a bit more, they’re still not fully open but we’re working on that. The track opened me up to a wider audience, it was a positive track and I think that’s why people liked it so much. AllHipHop.com: What’s on your ipod at the moment? Bashy: I’m listening to so much different stuff at the moment. I’ve been listening to Rick Ross’s new album Deeper Than Rap, I’ve also been listening to a lot of Drake. I’ve got a little funky house on here – I like a little bit of everything, whatever speaks to me. AllHipHop.com: Your profile is rising very quickly – are you worried about becoming famous? Bashy: I don’t know, I don’t really think I’m famous – I don’t know what other people think. […]

In the music business few are able to have careers that span 2 years, let alone 20 years. Super producer NO ID is a rarity in the music industry. With a career that has outlasted many of the different phases of hip hop, this Chicago bred music crafter’s contribution to music is hard to describe with just words. Aside from mentoring a young Kanye West, he has produced hits for such mega-stars as Alicia Keys, Jay-Z, and Janet Jackson. Several weeks ago a new Jay-Z record surfaced on internet blog sites everywhere. The title of this record was “Death of The Autotune” and it was produced by none other than No ID himself, a longtime collaborator of Jay-Z’s. The title alone had people everywhere curious and after listening to the record, one could not help but ask questions. Fortunately NO ID has answers. AllHipHop.com: Let’s talk about the D.O.A record, the Jay-Z record that everyone is talking about. What was the thought process behind the record? How did it come together? NO ID: Actually we were all in Hawaii. It’s actually a pretty good story. There was a debate going on in the studio and some of the main components were Timbaland, Kanye, Jay, Guru, Don Chi, I was in there, and some others and there was a Dj in there. And we were just going over all the records and talking about the sonic direction of the project. And somehow it got to one of the Dj’s saying that Jay needed a record that can hit the kids like Soulja Boy does. And the conversation went a little further and then Don Chi was like..I don’t know about that. And Jay was even like he didn’t know about that. And in that climate I had that beat in my computer unfinished. So I just put my headphones on during the conversation and I finished making it. Then after awhile Kanye was like play what you got in your computer right there. So I played it and then he immediately walked over to Jay and gave him the concept and the chorus. And that’s pretty much exactly how it came about. He was like this song right here should be like dissing everything that is not real. Then Jay took it home that night and the next morning he had the song laid. AllHipHop.com: It seems everyone has their own opinion about who they think he is going at or if he going at anybody. What do you think? NO ID: I don’t think he’s going at anybody. I feel like when you really listen to the whole song, there are a lot of things he talks about in the song that don’t have nothing to do with autotune but its just themed “Death of the Autotune”. I would more so look at it as if he’s just taking a position that comes up every so often. The same position that maybe 50 Cent took when Ja Rule was making a lot of commercial music or throughout history its been times where certain aspects get attacked but it really just represents getting back in control and making music and trying to be dope and not just trying to sell records and be popular by imitating what’s selling. That’s my opinion of the record. Everyone else can take the “autotune” theme and run with it, but I look at hip-hop as the pursuit of dopeness. And when you get outside of trying to be dope and you are trying to make money only…that’s the thing he attacks in this whole song. Dealing with the way you dress, the way you act, and the final blow is to the autotune. I don’t really look at it like its coming at one person. I see it as him coming at all the things that he feels like are not pursuing dopeness. AllHipHop.com: So you see the record as more of a general statement? Kind of like how Nas came out with Hip-Hop Is Dead? NO ID: Exactly. Same exact underlying point. Except Jay honed in on something that everybody is doing. Hip Hop Is Dead was like a broad statement that didn’t exactly hone in on what people were doing at that time. That’s not an attack on individuals per say in my eyes. Its an attack on the idea of “Is it cool to just do anything if it sells?”. Is it cool to just say anything if it sells? Is it free reign to just say anything and nobody’s supposed to say nothing because it works? I think he was just like I don’t care if it works, this needs to stop. MC Hammer Talks “D.O.A.” video platform video management video solutions free video player AllHipHop.com: This record really kick started the anticipation for Jay’s next album. Do you feel like this record represents where Jay is as an artist right now? NO ID: I think at this moment. That’s where he is,but I also think he’s in a lot of places. And I feel like even up to this every minute he’s still recording and getting everything out of his mind. To try to box Jay into just one record is hard because he has way more depth to him as a person and as an artist. But I know he definitely felt like he had some things he needed to get off his chest. Even with the Soulja Boy thing. He was like “Yo What’s going on?” Why are you mentioning Jay in that light? “Like if BIG was here do you think he’d be cool with me trying to make a record for that crowd? Not to diss Soulja Boy or nothing because personally I like Soulja Boy. But I don’t want to see Jay do a record to try to get his crowd. AllHipHop.com: You’ve been around for a minute and seen the different phases in rap kind of come and go.What do you think about the […]

Forget blaming it on the auto-tune or whatever critics can muster, because for Hip-Hop is surely alive and now proven with a new face. This particular guy has been gaining a buzz with his sky-rising way he plays with words- demanding the attention of the Hip Hop masses. Previously working with the late Dilla, he has already gained the attention of Hip-Hop celestial bodies’ ranging from Sean Price to EPMD. Meet Gregory Skyler Taylor, otherwise known as Skyzoo and 9th Wonder’s new label signee. Incredible work ethic and true passion for music bound these two beings together- simply throwing down on some good, respectable Hip Hop music. Anticipating the release of his new album- The Salvation, Skyzoo gives AHH a good teaser of his art of storytelling and thoughts on current day Hip-Hop controversies. AllHipHop.com: A lot of people do not know that you were the guy that was taken out by Jin on BET’s 106 & Park Freestyle Friday. Who would ever think you would have the buzz you have now? Was there any type of rapper’s detox that you went through to bounce back and be as successful as you are today? Skyzoo: Naw, not at all because for one, with that, it was so long ago and two, it wasn’t really a big deal because at the end of the day, I refuse to let my career be dictated by one situation from 7 years ago. I make music, so regardless I was gonna get where I am now. After it all, Jin and I remained cool and he’s shown me nothing but respect as a lyricist, and vice versa. You can’t watch that battle and think that I got slaughtered or anything like that, and the fans have always argued over who had the one-up. It was fun and great for the sport, and we both walked away on our own paths. I actually ran into Jin in Hong Kong when I toured out there in 2008 and we hung out for awhile and kicked it. AllHipHop.com: How did you use the advantage of growing up in Brooklyn to further your success- I guess at that time being an independent artist? Was there anything that you took full advantage of since you were in Hip Hop’s proclaimed birthplace? Skyzoo: Just observing. Just growing up when Hip Hop was really coming into position and just observing what was around me, just taking it all in. Pretty much just being a sponge for everything that Hip Hop had to offer in New York coming up in the ’80s, the ’90s and everything. AllHipHop.com: Before I ask you about the Cloud 9: The 3 Day High EP that you and 9th Wonder put together, I have to ask about the chemistry which you just touched on. You and 9th put that EP together in 3 days-literally. I can say the quality doesn’t sound any short of an EP that had more time spent on it. How was the process putting that project together? Skyzoo: Well with 9th, I think we’re cut from the same cloth as far as music, as far as what we like and what we don’t like, and we came up on a lot of the same things. I grew up on everything from Kool G Rap and Big Daddy Kane and NWA to Kid n’ Play to Sade to Nirvana to John Coltrane and Miles Davis. I grew up on all different types of music, and it all shows. 9th is the same way, he has a love and appreciation for so many types of music. So we’re similar in that aspect and we just love dope music, dope Hip Hop, dope beats, rhymes, the whole deal. It just makes since when we get together as far as making records. With Cloud 9, I pretty much did the whole project on my own. The way that went down, I was in New York, and every time I see 9th he gives me a bunch of beat CDs. So I have tons of beat CDs from 9th- tons of beats no one has ever heard. I was home one day and I pretty much was just bored with where music was at, you know, there wasn’t anything to listen to. There wasn’t any mixtapes, there wasn’t any albums out that were exciting and there wasn’t anything on the radio. I was like “You know what, I should just make something just to listen to, just to have something to ride around to.” So that’s how it came up and I just started making records and then I was like “You know, this is where I’m going to stop at, and I stopped at where I thought I had enough and I did about nine records in two days. Then I went to North Carolina a few days later, got with 9th and I gave him the CD- he didn’t even know I was putting it together. I gave him the CD and he loved it, he was like “Yo what do you want to do, like, we have to finish it. Whatever you want to do let’s do it because this is amazing.” We did three more records in a day and that’s how it came out to be 12 songs in 3 days. But I did the majority of it in my studio up here in NY with my engineer DJ Nyce. AllHipHop.com: Jay-Z’s “Death of AutoTune”. Of course he addresses the artists that uses the autotune, but would you agree with the song? How do you feel about it because I personally feel like it was way over due and should have been put out a long time ago. What’s your feel on it? Skyzoo: I feel like its dope. I feel like it’s a dope record- you know the beat is real dope, the rhymes are dope, the message is dope and everything like that. I see that he’s doing interviews and things […]

Knowledge is power, and in the music industry especially, a large percentage of artists attain their knowledge through trial and error. Though that route is an unfortunate reality for most, the independent artist with little to no budget can’t afford to make too many costly mistakes. The margin for error could cost them their career. Two ladies who have learned their own hard lessons in the industry, have made it their business to give back to the industry by helping artists, and those seeking a career in entertainment how to do it the right way. Wendy Day and Kim Ellis are the creators of “In The Know” webinars. The monthly series of educational webinars feature some of the best and the brightest in the entertainment business, who volunteer their time to help those who are serious about having a career in music, avoid the rookie mistakes that can cost a lot of time and money. Wendy Day, as the founder of Rap Coalition, a non profit organization that acts as an artists’ advocacy group dedicated to the support, education, protection, and unification of hip hop artists, similar to a union. Kim Ellis is the Editor of Street Report Magazine with a background in Public Relations. Collectively the ladies have over 20 years of music industry information to share and they want to help everyone get in the know. AllHipHop.com: Hi ladies, let’s first start of by telling those who aren’t familiar with your work, a little about your backgrounds. Kim: I basically stumbled into the industry, it wasn’t something I pursued it kind of happened accidentally. I started in artist management and without contacts that grew old very quickly. I switched up my direction and began working with a couple of magazines and some promotions companies for a little while before I realized that I could have my own company and offer these services to many versus limiting myself to one particular company and hence, KE Consulting & Marketing Solutions was birthed in 2006. There, I worked with many on their marketing and PR campaigns to assist in garnering more exposure. Once I lost the passion for it, I decided it was time to either go back to Corporate America or change my course and In The Know Seminars was my first step in a different direction. Now, I do these webinars monthly with Wendy Day and I am also the Editor-in-Chief of Street Report Magazine, who I have been working with in equally amount of time. I’ve been given a new zest of life so to speak with these two ventures. Wendy: I started a company called Rap Coalition in 1992 because I grew frustrated of hearing stories of my favorite rappers getting jerked by their label, and managers and these other companies and it really put me off that no one was helping them, so I wanted to help the independent artists learn how to evolve and helping them launch their cancer so I started the non-profit to help artists. AllHipHop.com: How are you able to provide for free what most people charge good money in consulting fees for? Wendy: I had a career in Marketing in corporate America and I had taken about half a million dollars of my savings and started Rap Coalition. AllHipHop.com: that’s a perfect segue into the sentiment behind the In The Know Seminars, making information available to the masses what made you guys want to do this together? Wendy: I’m going to let Kim address that because this is really her baby but I just want to preface that by saying this industry is a really closed circle of individuals and if you don’t have knowledge access and/or resources, its not going to be easy for you at all. Kim: As far as the concept behind In The Know webinars go, with the way the economy has been since last Summer it just really hit me that people really don’t have the budgets to travel and go to the more reputable conferences. Case and point I’ve gone to a number of them as I’m sure Wendy has gone to hundreds of them and in the course of a weekend I’ve easily spent $1500 between travel, registration and hotel and back when I was so thirsty for knowledge going to a two day conference was almost like information overload. I’d walk away like what the hell was that about? I couldn’t keep it all in my head, so I began to figure it probably makes more sense to make it a more topic specific event once a month so that those who are learning can actually absorb the information and retain it a lilt more vs. all the distractions that come with a live seminar. AllHipHop.com: I would have to agree that’s what made me a fan of In The Know webinars. Information overload can be a big problem although I recently attended the One Stop Shop Producers conference and I must say that was one of the best conferences I’ve been to in a long time and I think it was because it was specifically focused on the producers. Wendy: Sha Money’s seminar is actually the best one we have in Urban music and I think its because he’s so well connected and he keeps it so specific to production that he really just focused on one thing and he’s really good at it. AllHipHop.com: What are the next up coming webinars? Wendy: we just did “Building a Career in Music” where we had artists like Mistah Fab, 40 Glocc, and Young Buck discuss being at different stages in their careers the next one is going to be “What the DJ’s Think” that should be a big one. The DJ’s will be talking about what they look for in music, why they play what they play, how they make money outside of spinning etc. That for people trying to get their records played by a DJ and then that one is going […]

Vyshonn King Miller along with his brothers Percy and Corey helped usher Southern Hip-Hop to the rest of the world, in a number of pioneering ways. Vyshonn, professionally known as Silkk the Shocker, is now president of a new label and plots the release a new album after close to five years away. No Limit broke sales records in the 90’s by pushing music at a break neck speed and pushing a brand that transcended music. Silkk talks now with AllHipHop.com about the wait between albums, his new position at the head of a label, and his relationship with his family. AllHipHop.com: Why such a long wait between releasing albums? Silkk The Shocker: I’ve just been more focused on the business side of things. I wanted to make sure that everything was in place. Once that happened I just wanted to take the time and really enjoy what I’ve done. I didn’t want to just keep working and not see the benefits. Then I actually did a song for a soundtrack and I liked the feel of the whole situation. Everything came together so well that I wanted to keep making music and see what happens. AllHipHop.com: What record label is going to release the album? Silkk The Shocker: It’s coming out on Globy House, which is part of Universal. AllHipHop.com: Now, is this your own record label? Silkk The Shocker: I’m the president but I don’t own it. AllHipHop.com: So what are some of the major differences from creating an album as an artist and creating an album as a president? Silkk The Shocker: I can control a lot more and I’m more involved in the business side. With an artist you just do what you do and give it to the label. You don’t have as much input after that. Now I’m more involved with artist development. I got the job because I know how to develop an artist and put together a complete project. AllHipHop.com: Given your background with No Limit what are some of the positive and negative lessons you have learned from its history? Silkk The Shocker: I would say I learned a lot of positives. I learned about the hustle and what it takes to make it. We didn’t have the radio so we had to start at the streets. The streets are what gave us our core audience. The negatives? I don’t think there are many negatives. It’s a different day and age with artists making a lot more digital sales. There are more downloads and more ringtones. What we did with No Limit was great but that was for that time. Would it work right now? Probably not…or at least not as much because of the way the system is setup. The whole situation did teach me how to make something out of nothing. Now that I have a lot to work with it makes it easier. Granted the record industry has changed but I feel I can still be successful. I feel good about what we did then and I feel good about what I’m doing now. Right now I’m focused on trying to make something better. It might not go and sell 75 million records but I still want to make something better. AllHipHop.com: What’s the name of the new album? Silkk The Shocker: Right now it’s called The Blessing although I may change the name. I know a lot of people say this, but I feel like this is my best record so far. People will have to wait to hear it, and if you don’t think it’s the best let me know. I just feel it’s my best to date. I may change the name because I recently recorded a new track and that may become the title of the album. AllHipHop.com: This being your best album, how do you feel it differs from your previous efforts? Silkk The Shocker: The other records were great but I was just doing it. I was in the moment. I didn’t really take my time. This album is more thought out. I think more people will appreciate it because it is more lyrical. You can understand what is going on and what I’m rapping about. I know in the past I was into a fast rapping style that people couldn’t understand. On this album I broke it down so that I would be clear on a lot of things. Also, it’s just a different vibe. I have more variety with heartfelt songs, club songs, Hip Hop songs… it’s just more variety. AllHipHop.com: What can we expect to hear, subject-wise, on this release? Silkk The Shocker: I think you will get a lot from this album. A lot of people will appreciate it. I talk about the world and economy. I just speak about what people are going through today. I talk about the club and women. I speak about treating women right. I just have a lot of different types of songs on the album. I just can’t wait for everyone to hear it. I know people around me that hear it are surprised and appreciate it. It’s different from the records I’ve done that I didn’t really like. Overall I’m just glad to be back and glad to be able to get more music to the fans. AllHipHop.com: Now, what do you mean by records you didn’t like? Silkk The Shocker: Don’t get me wrong, I liked my records. It’s just that some of them I just did it to do it. I didn’t really take as much time to make the records as I did on this album. AllHipHop.com: What’s it like to see the blueprint that your record label created, in terms of music, clothing, and film, being followed by labels today? Some record labels take it to another level while many tend to remain stagnant and just copy your exact model. Silkk The Shocker: I was just talking to someone about this the other day. I really […]

      Some of you guys must have hit Best Buy over the weekend because we have a couple of artists from the “dropping this week” section last week make it on the charts in a major way this week.  I’m not saying we at AllHipHop.com had anything to do with that, I’m just saying it’s a nice coincidence.       I know I might have made fun of them last week (along with Flo Rida and anyone else who makes Hip Pop) but the Black Eyed Peas enters this week’s chart at number one.  Their new studio album The E.N.D knocks off the Dave Matthews Band whose album, Big Whiskey and the GrooGrux King,falls to number two.       Eminem continues his chart topping sales with Relapse and also earns Em another platinum plate. His raps about drugs, violence, and Mariah Carey make me feel like its 2002 again. Incidentally, Mariah Carey has a “diss record” against Shady on her new album. It’s like she is just asking for abuse. Somebody warn her and Nick Cannon. Chicken Foot follows Eminem at number four with their self titled debut.       Now ya’ll know how I feel about Lady Gaga.  Well apparently a bunch of people don’t feel the same as I do because her album, The Fame, continues to sell and comes in on the chart this week at number five.  That’s followed by Disney’s Hanna Montana: The Movie soundtrack.       Green Day falls a few positions with their album, 21st Century Breakdown holding at number seven.       I don’t know what bachata music is so if anyone does please school me on it.  Aventura, a group from the Bronx, does bachata and apparently they do it well because they enter the charts this week at number eight with their 8th studio album The Last.       A few years a R&B group by the name of Pretty Ricky started making noise and climbing the charts. As they got popular I thought…Who the hell is Pretty Ricky? Then came the devastating news that Pleasure P was leaving the group. This time I thought…Who the hell is Pleasure P? Well apparently Pleasure P is rising to the top doing all the things to your girl that you won’t do. His album, The Introduction of Marcus Cooper, debuts this week at number nine on the strength of the single Boyfriend #2.       Finally, Dante Terrell Smith a.k.a Mos Def enters the chart this week at number 10 with his album The Ecstatic.  He was on the “Dropping this Week” section along with The Black Eyed Peas last week.  Let’s see who might make it on the charts for next week.  DROPPING THIS WEEK      Tupac’s birthday just passed and a former member of the group he founded over a decade ago releases a new album.  Former member of The Outlawz, Hussein Fatal, releases his fourth studio album, Born Legendary.       Bay Area rapper The Jacka drops his third album Tear Gas.  It’s been a minute since he released a studio album and now he returns in full force with an album featuring Freeway, Devin the Dude, Mistah F.A.B, Paul Wall, and others.       Finally, it looks like the members of Three Six Mafia are each putting out solo albums.  Juicy J comes out with his second solo album Hustle Til I Die. Read the AllHipHop interview right here!

One of the most interesting and intense interviews, I’ve ever conducted was with Tupac Shakur.. He had just hit it big with the movie Juice and and everyone wondering was he just acting or putting forth his real life persona in the movie.. Although I had known him for a couple of years it was hard for me to tell.. cause he had a loaded gun on him as we spoke…If I recall it was a 38….Pac explains in this interview his then recent encounter with the Oakland Police Department which resulted in him getting beat. I had run excerpts from this interview in a newsletter I used to publish back in the early 90s. I had completely forgotten about this interview and had misplaced the tape. A couple of months ago while working on liner notes for Digital Underground’s Greatest Hits which recently came out on Rhino records, I came across a tape that had an old interview I did with Shock G. I flipped to the b-side and to my surprise I discovered the missing 2Pac interview from 1991.So today in celebration of his birthday we are sending off the transcript of the entire interview. We are also going to be playing the entire interview on our Hard Knock radio show. If you happen to be located in the San Francisco Bay Area or anywhere throughout Northern and Central california tune into KPFA 94.1 FM… If you happen to be listening to us up in Seattle where we are also heard tune into Radio X. Everyone else peep us out on line at KPFA.org or radio-x.org. We will be putting excerpts of the interview up on the site tomorrow. Enjoy the interview.Tupac Shakur considers himself the ‘Rebel of the Underground’ [Digital Underground] and for good reason. He stirs things up and does the unexpected. Such a person is bound to generate excitement because they have impact on both the people and situations around them. 2Pac in 1992 promises to have major impact in the world of hip hop. He’s kicking things off with a sensational acting debut in the movie ‘Juice‘ where he stars as the character Roland Bishop. His debut lp ‘2Pacalypse Now‘ is beginning to cause a bit of a stir on retail shelves around the country. And if that’s not enough Tupac is branching out and signing new acts to his production company including his older brother Moecedes who raps in the Toni Tony Tone song ‘Feels Good. I recently had the pleasure of interviewing this out spoken and very animated individual at his apartment where he told his tale.    Davey D: Give a little bit of background on yourself. What got you into hip hop?  2Pac: I’m from the Bronx, NY. I moved to Baltimore where I spent some high school years and then I came to Oaktown. As for hip hop…all my travels through these cities seemed to be the common denominator. Davey D: 2Pac… Is that your given name or is that your rap name?    Davey D: You lived In Marin City for a little while. How was your connection with hip hop able to be maintained while living there? Was there a thriving hip hop scene in Marin City? 2Pac: Not really..You were just given truth to the music. Being in Marin City was like a small town so it taught me to be more straight forward with my style. Instead of of being so metaphorical with the rhyme where i might say something like… I’m the hysterical, lyrical miracle I’m the hypothetical, incredible… I was encouraged to go straight at it and hit it dead on and not waste time trying to cover things… Davey D:Why was that? 2Pac In Marin City it seemed like things were real country. Everything was straight forward. Poverty was straight forward. There was no way to say I’m poor, but to say ‘I’m po’…we had no money and that’s what influenced my style. Davey D: How did you hook up with Digital Underground?  2Pac: I caught the ‘D-Flow Shuttle’ while I was in Marin City. It was the way out of here. Shock G was the conductor. Davey D: What’s the D-Flow Shuttle? 2Pac:The D-Flow Shuttle is from the album ‘Sons of the P‘ It was the way to escape out of the ghetto. It was the way to success. I haven’t gotten off since… Davey D: Now let’s put all that in laymen’s terms 2Pac: Basically I bumped into this kid named Greg Jacobs aka Shock G and he hooked me up with Digital Underground and from there I hooked up with Money B… and from there Money B hooked me up with his step mamma… and from there me and his step mamma started making beats…[laughter] Me and his step mamma got a little thing jumping off. We had a cool sound, but Shock asked me if I wanted a group. I said ‘Yeah but I don’t wanna group with Money B’s step momma ’cause she’s gonna try and take all the profits… She wants to go out there and be like the group ‘Hoes with Attitude’, but I was like ‘Naw I wanna be more serious and represent the young black male’. So Shock says we gotta get rid of Money B’s step mamma. So we went to San Quentin [prison] and ditched her in the ‘Scared Straight’ program…[laughter. After that Shock put me in the studio and it was on..This is a true story so don’t say anything.. It’s a true story. And to Mon’s step mamma I just wanna say ‘I’m sorry, but a man’s gotta do what a man’s gotta do. I’m sorry but it was Shock’s idea-Bertha.. but don’t worry she can get her half of the profits from the first cut after she finishes doing her jail time. [laughter] Davey D: What’s the concept behind your album 2Pacalypse Now’?  2Pac: The concept is the young Black male. Everybody’s been talkin’ about it but now it’s not […]

Right now, Willie Dennis sits in a jail someplace in Texas, accused of sales fraud for collecting money for iPhones, but now shipping the merchandise. Well, Willie Dee is still one of the pioneering artists in the Hip-Hop and there needs to be a movement for his release. The “Free Willie Dee” movement starts here. Its not a matter of guilt or innocent, but more of the community saying, “We Care.” And at AllHipHop.com, we definitely care about Willie Dee. Last year, when there was chaos surrounding the Ozone Awards in Houston, Willie Dee helped the entire AllHipHop.com crew get inside using his hometown juice. In fact, I’m a huge fan of the man. He rapped with a bellowing accent when a lot of Southern artists were trying to sound closer to their New York counterparts. Now, he’s in a bit of trouble, facing 20 years, but Will’s a good dude with a big heart. Furthermore, other rap acts get a slap on the wrist for violent offenses with their fancy inside corporate connects and lawyers. Hopefully, things work out and everybody can move on. Below are some of the greatest (and sometimes humorous) moments of the great Willie Dee, both solo and with the Geto Boys. “F**K The KKK” When I was growing up, the KKK didn’t live too far from where I was reared. So, menacing, my father would sleep in his car with a gun to make sure there were no issues as we built out first home. Well, Willie Dee, to my knowledge, is the only rapper to address the terrorist organization. “How can you say you’re a Christian mother f**ker? When you don’t even love your own brother.” The rest of the song addresses the educational system, crooked cops, television and other societal enemies that Willie says “goes back to the slave days.” You just have to love when he says, “every racist in America can suck my d**k and while you’re doing it, listen to this: “F**k You B***h!” “F**k Rodney King” When Rodney King was beaten on video camera by the Los Angeles Police Department, he was a sympathetic figure of all that was wrong with our justice system. But then when the cops got off and he decided to cry for peace, he became an object of disgust to Willie Dee. In 1991, he crafted the record, “F**k Rodney King,” a scathing diss song. “Rodney King, you damn sellout/you gonna cry for a cop/ the same mother f**ker that beat the hell outcha/ now, I wish they woulda shot ya!” Raw as sushi, but much of this song is about empowerment and opposition to pacifist forms of Civil Disobidience. He even goes so far as decrying welfare. “Bald Head Hoes” “Bald Head Hoes” would not bode well with Kanye West’s ex, Amber Rose. But, the song is eternally funny even though it seems like The Geto Boy was dead serious. “Actions Speak Louder Than Words” People really don’t remember this one, but its one of the hardest posse cuts from the Rap-A-Lot crew. The song is from Ganksta Nip’s Southpark Psycho and featured Scarface, Point Black and even Lil’ J (J. Prince). Willie’s verse came the hardest on here – pause – and defiles just about every thing sacred. He spews, “Think its a game when it ain’t/I’m letting you talk, but b***h I’ll knock your lips off/ And get ready for ya kinfolk/ ya lil’ sister be the first one to get smoked/then I’ll grab ya grand ma by her weave hair and whulp her old ass with that wooden leg she wear.” Too much! “Read Theses Nikes” Willie Dee often rapped about guns, but any real fan know Willie liked to fight. This title is an ode to stomping somebody out in a fight. It is a well known fact, Willie Dee knocked out Melle Mel in a celebrity boxing match back and the day. We didn’t forget! Willie dared opponents to fall when he was scrapping so he could plant that logo on your body in a few places. “Homie Don’t Play That” This song was Willie Dee at his screaming best! The song title was taken from the clown from “In Living Color.” “Don’t say I didn’t warn you about playing them hoe games,” he yells. To a funky Parlament beat, Willie is telling people not to play with him -quite literally. “See we aint that cool, that you can play with my girl and try to get a free feel, fool.” How can you not love that. “I’m Not A Gentleman” Question: Why did Queen Latifah record “Ladies First?” Answer: So, Willie Dee could diss it. “F**k Em” This isn’t a really a Willie Dee song, but since he wrote much of Bushwick’s material, it a majority Willie Dee joint. This is one of the hardest songs I’ve ever heard in my life. “Point of No Return” This is another Geto Boys song where Willie Dee stands out. “J. Edgar Hoover, I wish you wasn’t dead so I could put a bullet in you’re head…we know you put the hit out on Martin Luther King, Fred Hampton, Malcolm and the others.” Scarface and Willie Dee back to back? Classic! Good Luck, Will!