All Entries in the "Studio Xclusive" Category

Gucci Mane Releases ‘Trap House 3′; Still Goin’ In On T.I. & Young Jeezy

In what sounds like a more sinister  side of Big Guwop, the rapper known as Gucci Mane is not holding back this time.  Although, he has never known to be one to hold his tongue, Gucci is more direct than ever and everyone he doesn’t like is called out.  This event in “Birds of a Feather” in which he goes in on T.I., Young Jeezy, Yo Gotti, and a few others. Why can’t we all just get along?!

Despise the “beef”, Gucci Mane comes hard with the beats on Trap House 3.  The entire album is well put together and evident that some thinking was put into how songs would flow. This is always good.  Nothing is worse than an album that you can tell songs were just thrown on there. No overall concept. No real flow. Nothing. Thankfully, the album contains some stand out tracks like ”Nuthin On Ya” and “Mama”.

On Trap House 3, Gucci enlists a few of his rap homies like Rick Ross, 2 Chainz, Wiz Khalifa, Chief Keef, Rich Homie Quan, and others. Gucci’s mixtape is straight. But what is strange is that it is now for sale on iTunes. Hhmmmm…could someone be blackballing him?  Who knows. Luckily for fans, they can stream the new album for free and we got the link!

Take a listen below…

BTS Exclusive: MikeWillMadeIt’s Birthday Celebration @ Harlem Nights

Super-producer, MikeWillMadeIt, hit the Atlanta streets in celebration of another blessed year of life. What’s Goin On? TV was on deck to capture all the behind-the-scenes footage of Mike Will’s birthday party hosted by DJ Holiday (Streetz 94.5FM) at Harlem Nights nightclub.
Check out the footage below:

On The Block: JStavo…Bringing Pop/Soul To The Forefront

In case you’re wondering if all up-and-coming artists are here to duplicate what’s currently hip in music, guess again.  As far as R&B goes, there’s a lack of originality, especially with male singers. Well, there’s a new crooner on the scene who’s ready to change the game.

Hailing from Virginia (by way of Texas), JStavo is prepping his first EP that he contends will be eclectic, refreshing, and something you can feel. He’s calling his sound Pop Soul.  Well, STACKS Magazine recently got the opportunity to find out more about JStavo and this Pop Soul he ‘s bringing to the industry. Several interesting tidbits were learned during our conversation  with JStavo.  Check it out…

Tell our readers who you are, how long you’ve been singing, what was the inspiration for you to want to become an artist.

My name is JStavo. I’m from VA by way of Texas, just moved to Atlanta a year and a half ago trying to pursue the whole music thing. My inspiration for music ever since I was two, I always wanted to sing. I would always get caught dancing in my room. My mom would play music to sit me down and shut me up. Anything with music I would be a good person. Other than that, it wouldn’t happen. So basically, from two years old I knew what I wanted to do.

Where does the name come from?

My first name is Josh. And then it was sort of a middle name/nickname that my family, my cousins we’re all crazy so they used to call me Gustavo. Because…don’t ask me because I still don’t know. So at that point, when I knew I wanted to pursue music full time, once I got a little older. I just put the first letter of my first name which is Josh “J” plus “Gustavo”. Plus it sounds dope. Not Italian, but it sounds dope.

How would you describe your style of music?

I actually put myself in my own genre, Pop Soul. It’s basically, if you take popular music (whether it be Dance music, whether it be R&B, whether it be Alternative) and then you always add soul to it. That’s kind of where I’m at. ‘Cause I can kind of get on any type of track period. I’m very eclectic when it comes to music. I just make sure I add soul to it and Pop Soul.

What was your reason for moving to Atlanta?

A lot of producers and songwriters usually come here. When I first moved here, I know for a fact, it’s like anybody you meet their either doing music, acting or modeling, or they have their own company. I just needed a change. I definitely needed change to where I could grow and network better around music. So, Atlanta was the next best step.

Who were your influences growing up?

Well, my favorite singer of all time is Donnie Hathaway. Point blank period, it’s Donnie Hathaway all day. From him to Genuwine to Babyface to Gladys Knight. It ranges from old school to the 90’s ‘cause that’s the era I grew up in.

Have you worked with anyone yet? Any collaborations?

Well I’ve done…that’s really all I like to do is a bunch of collaborations with independent artists and artists that are up and coming. I truly believe in everybody coming up together. So, instead of going for the big names and this that and the other, you know just try to make sure my name gets out there. I’d rather do a collaboration with somebody that I believe in as an artist and believe in their artistry. Then kind of come up with them and everybody helps everybody.

Do you think male singers get enough shine? Do you think there is something lacking?

I really think currently a lot of the new artists that are coming out, and even some of the old artists that are come back out, they are getting stuck in a box. It’s kind of like the whole thing where they see what’s hot right now and their going for it, but it’s consistently not refreshing. It’s not refreshing. Where back in the day you had your Marvin Gaye’s, you had your O’Jays, everybody in the same genre, but you knew who everybody was. Everybody was unique. I think the reason why the make industry, as far as R&B artists or singers period, I really think that we are lacking in creativity and pushing the envelope. I remember Bobby Brown was always pushing the envelope. Like and it wasn’t that long ago when other artists were pushing the envelope. I just think now we’re stuck in just trying to either make money or be a sex symbol because that’s what sells right now. When in reality, you don’t have to do all of that.

How do you plan on competing with the others (artists)?

I actually feel that like people are waiting for something new. I think we’re so content with what we have right now. That we’re just like “oh ok, that’s fine.” But I really think people are waiting for new artists. Like Miguel came, and he’s like the new age Prince. Frank Ocean came out. None of them are doing what a lot of artists that are out right now are doing. They’re doing what they want to do, being creative. So I think what’s going to set me apart is my uniqueness and my sound. However, making sure that it’s refreshing and people can actually understand it (or it brings them back somewhere to a feeling). I think at the end of the day, nobody is really looking at the content. They’re really, like, looking for that feeling…and that’s what I’m trying to give them. Bump the content, bump what I’m saying if you can’t understand it, that’s cool. But, if you can feel it, then I’ve done my job.

Do you have a 5 year plan?

I used to have 5 year plans and 10 year plans. For some reason, plans never work out. I do, however, set goals for myself as big as getting a Grammy or performing at Madison Square Garden. I make sure I do big goals like that and speak it into existence and I just let God do the rest. Whatever comes in between that, then I’ll take it.

But, I don’t really believe in the 5 year plan because you really don’t know.

Who would you like to collaborate with?

I would really like to collaborate with Kanye just because he’s controversial. I don’t even know what we can create. But, just on his PR…just as a business move. Jay-Z. I would love to do a song with Jo Jo. Ciara. I love soft voices. So, Ciara would be one. I would love to do a song with Sting. He is crazy incredible. I think that would be it. As far as collaboration goes, for like my EP that’s coming out, I made it adamant that I was not going to have a lot of collaborations. I feel like that puts you in that “you can’t have a hit song” or “you can’t stand on your own feet.” So I want people to grasp my music. You know how rappers do with mixtapes. If they want to remix it, they can flip it around. Oh and A$AP Rocky also.

When can we expect the EP?

Actually, what we’re doing right now, we’re setting it up formally because there’s not an actual release date, because we actually do not have the single out yet (the official single). Right now, we’re just worried about pushing the buzz single to network and get a fan base and let people know I’m out there. So, as soon as we get the single out, then we can figure out exactly what’s the next step for the EP.

Any thoughts on the content on your EP?

For one, I’m not crying on any of my tracks. [laughs] As far as the EP, its’ going to be very eclectic. It’s really going to bring all ages back. When I say back, I don’t mean it’s going to be old school. I’m just that feeling you get when you hear a song. I’m going to bring that back. So, you’ll get dance tracks, smooth tracks, everything will be smooth though, I’ll say that.

What do you want the readers to know?

I have a website called www.jstavoworld.com. You can get any type of information from there. Twitter, Instagram, etc @ JStavo.

I just want the readers to get ready. If they want something refreshing, something new, but something they can feel…JStavo is the route to go.

If you’d like to hear JStavo’s music or see him perform, he’s scheduled for several upcoming shows.

2nd Annual Rip The Runway – Birmingham, Alabama (April 2013)

Sweet Auburn Festival – Atlanta, Georgia (May 11, 2013)

Underground Atlanta – Atlanta, Georgia (May 12, 2013)

9to5 40th Anniversary (September 2013)

Exclusive: Shawty Lo Listening Party for “I’m Da Man 4″ Mixtape + “Got My Own” feat. Stuntman

Shawty Lo recently hosted his listening party for his I’m Da Man 4 mixtape.  Atlanta’s industry movers and shakers were packed in the Hot Beats studio to show support for Bankhead’s own.  Check out the exclusive footage below…

In related news, Shawty Lo released his next video off of the IDM4 mixtape. His new video “Got My Own” features D4L’s Stuntman. “This Here Is Boss…Sh*t Ni–a Get Lost”…but before you do that, peep the video below.

Event Recap: DTLR Hosts VIP Reception for Rapper French Montana

French Montana @ DTLR VIP Reception, March 13, 2013

Today, the good folks over at Atlanta’s DTLR sports store held a private VIP reception for BadBoy/MMG artist, French Montana.  The Cocaine City Records CEO was in tow to meet and greet several media outlets and fans. As you know, French Montana is set to release his debut album Excuse My French on May 21.  After garnering recent success with tracks like “Pop That” (featuring Rick Ross, Drake & Lil Wayne) and “Ocho Cinco” (feat. Diddy, MGK, Red Cafe, & Los), French is finally gaining the real attention he needs.

With drinks flowing and free soul food on deck, the VIP reception was pretty chill. I’m sure he needed the brief down time due to video shoots, radio appearances, and scheduled performances he was said to be in town for.  Luckily, STACKS Magazine was on hand to get a few snapshots for the French Montana fans. Check them out below…

Bels (STACKS Mag) & French Montana

Smoak (DTLR), French Montana, & Guest

Born Fly Clothing Co & Bels (STACKS Mag)

In case you missed French Montana’s latest video “Freaks” feat. Nicki Minaj, click here!

Photo Credit:  Dnice Photos

Exclusive: Yung Ralph’s “Juugin Round The City” Mixtape Listening Session

Many have wondered where the hell “Mr. Look Like Money” been.  Well, back from a brief hiatus, Yung Ralph has returned with a pretty decent mixtape. Juugin Round The City is his newest project and three Atlanta’s notable DJs has co-signed on (Greg Street, DJ Pretty Boy Tank, & DJ Holiday).  The JTRC project feature production credits from Zaytoven, Mills, Showstoppa Beats, Hot Sauce, and the Beat Junkies.  Ca$h Out, Rich Homie Quan, Scrap, Young Scooter, Young Thug, and London Jae all lend bars in support of the Juug Man.

Yesterday, Yung Ralph hosted a mixtape listening session at Atlanta’s Hot Beats Studio.  After playing varous cuts off the project, several of them were immediate standouts (i.e. ”Focus On The Money”, “Cinderella”, “All We Do”, “Designer”, “Dead  And Gone”).  There’s always been something special about Yung Ralph. His voice and ability to ride the beat becomes infectious after listening to a few tracks. “Juugin Round The City is a mixtape worth downloading if you’re a real ATLien or can appreciate the swag that comes with city’s music scene.

Check out the official tracklist:

01. Intro

02. Focus On The Money [Prod. By Mills]

03. Work [Prod. By Zaytoven]

04. All We Do (Feat. Young Scooter) [Prod. By Zaytoven]

05. Cinderella (Feat. Young Thug) [Prod. By Zaytoven]

06. On You (Feat. Rich Homie Quan And London Jae) [Prod. By Beat Junkies]

07. Take It Off [Prod. By Mills]

08. Make A Juug [Prod. By Zaytoven]

09. Juugin’ Round The City (Feat. Rich Homie Quan) [Prod. By Zaytoven]

10. Ask Bout Me (Feat. Ca$h Out) [Prod. By Zaytoven]

11. DJ’s Speak

12. Designer [Prod. By Zaytoven]

13. Bad Bitch’s (Feat. Scrap of Travis Porter) [Prod. By Showstoppa Beats]

14. No Where (Feat. London Jae)

15. Haters [Prod. By Mills]

16. Dead And Gone [Prod. By Hot Sauce]

17. Shining And Grinding (Feat. K-Major) [Prod. By K-Major]

18. Back At It (Feat. Young Zoo)

19. Down (Feat. London Jae)

20. Outro

Juugin Round The City is out now.  Download your free copy at livemixtapes.com!

Exclusive: Mykko Montana “Applying Pressure” Mixtape Listening Party

Our folks over at What’s Goin On Tv was on deck for Mykko Montana’s mixtape listening party.  Mykko just dropped his anticipated mixtape Applying Pressure, which is hosted by DJ Plugg, DJ KuttThroat, and DJ SwampIzzo.  Hot Beats Studio was packed out as DJ Southanbred, Ray Forte, Nitti Beatz, DJ Such-n-Such, and others all came out to support the Atlanta rapper.

Peep the footage below…

You can download the new mixtape Applying Pressure now on Livemixtapes.com!

In The Studio: Windsor Jones NEW Single “Tax Money” [Produced By D. KiD]

When our homeboy Windsor Jones isn’t running around the city chopping it up with Atlanta’s hottest artists, he’s in the booth doing what he do best.  He’s been in the game for a while, took a little break, but he’s back cooking up some heat. Check out his latest Hot Beats studio session laying down vocals to a new track “Tax Money” (production by Chris “D. KiD” Lawson).

Peep the video below…

Exclusive: Rich Homie Quan Performs @ Hush Lounge

Whats Goin On TV recently followed Atlanta rapper Rich Homie Quan in the streets of the A.  The city came out, to Hush Lounge, in support of Atlanta’s rising star.  In this exclusive video, Rich Homie Quan performs a new joint “Investments” and ”Differences”, and “You Can’t Judge Her”.

Check out the footage below…

Exclusive: Jose Guapo’s Listening Party @ Hot Beats Studios

Photo Credit: The Fader

Jose Guapo held a listening party at Atlanta’s Hot Beats studios.  In addition to our homies at Tronzai Media & What’s Goin On TV, other supporters in the building were Strap (Travis Porter), Keif Brown, Ray Forte, DJ Zee, Nard, and more.

Check out the exclusive footage below…

BTS: Young Jeezy’s “R.I.P” Video Shoot [Photos]

On a first listen to Young Jeezy’s Its Tha World (Es El Mundo) mixtape, the “R.I.P” track can be determined as a definite repeater. Produced by DJ Mustard, the west coast signature sound has made this song an instant favorite for DJs and rap fans.  So much so, it currently stands at #17 on the Urban Radio charts.

Directed by Taj, the track features 2 Chainz. But, Jeezy must’ve known that visuals with only the two wouldn’t be enough for this instant hit.  That is why damn near everybody came out to the video shoot.  Shot in L.A. during Grammy week, some of their rap peers in attendance were. T.I., Big Sean, Nelly, Snoop Lion, Warren G, Y G, and even Draya (from Basketball Wives of L.A.).

Thanks to Instagram we have a few behind the scene photos. Peep them out below….

2 Chainz, Big Sean, & Young Jeezy

2 Chainz

Nelly, Big Sean, & T.I.

Nelly, 2 Chainz, Warren G, & Snoop Lion

Exclusive: Yung Mazi’s ‘Humbled By The Hustle’ Mixtape Listening Party

Yung Mazi, the southern rapper who gained attention from a past video with Kat Stacks on WorldStar Hip Hop, is back to building a buzz on the streets of Atlanta.  He just released a mixtape, MCM: Humbled By The Hustle, which features a few rap notables. Hosted by DJ Scream, the project features Future, Rich Homie Quan, CyHi The Prynce, Rellz Fargo, and Mucho.

Apparently, he’s been putting in work and is finally ready to get the attention he deserves. Well, our homies at Tronzai Media caught up with Mazi at Patchwerk Studios during his official mixtape listening party. Check out the footage from the event below…

In case you want to hear what this up-n-coming talent is hitting on, go download Yung Mazi’s mixtape HERE!

Event Recap: Shawty Lo, Drumma Boy, DJ Demp & Others Salute The DJs @ The Atrium

Drumma Boy & Shawty Lo

After witnessing the second inauguration for President Barack Obama (and celebrating Martin Luther King Jrs birthday), the excitement continued on Tuesday night (Jan. 22) at the Atrium. Located on the east side of Atlanta, hundreds of DJs, artists, and music notables packed the club in honor of DJs.  Salute The DJs Awards, founded by Lady Shack, honors the men and women who rock the clubs, break records, and keep the streets bubbling with new music.  This year marked the fourth year for this event.  For it being STACKS Magazine’s first year attending, I can say it was a real cool experience.

The official emcee for the evening was local funny man Crum.com. Also, in the building were many Atlanta notables such as Ms Debra Atney (Mizay Ent), Shawty Lo, Bone Crusher, Drumma Boy, DJ T-Roc, DJ Bigga Rankin, DJ Demp, P. Brown (Streettalk), Wingo (Jagged Edged), DJ Unk, DJ Kutt Throat, Travis Porter, Jack Thriller (ThisIs50.com), Tex James, DG Yola, Mykko Montana, Suga Shane, Rich Homie Quan, Tight and even a surprise visit from Trinidad James.

As part of the show, independent artists/groups had the opportunity to perform.  Some included a childrens group called The Hard Team, YNV, Jewlz, Deacon Uly, Deja Vu, and DDS (pardon me if these names are spelled incorrectly).   There were also a couple of very special performances by Shawty Lo, Rich Homie Quan, and Tight.  The actual DJ awards were given out later in the evening. Some of the categories and winners included:

DJ To Take Most Risks – DJ Blue

Best Show DJ – DJ Prime Time

Most Overlooked In The World – DJ Such-N-Such

Hottest Female DJ – DJ Nina9

DJ Of The Year - DJ Demp

Here are a few pics and videos from the event…

Shawty Lo’s “Petition”

Rich Homie Quan’s “Difference”

Exclusive: In The Studio w/ Kief Brown + Alley Boy’s “Know Bout”

Kief Brown (formerly known as JR Get Money) may not ring a bell to many. But to notables in the music game, he’s considered a hidden jewel when it comes to songwriting.  If you are a fan of Lupe Fiasco’s 2011 hit “The Show Goes On”, then you’ll be surprised that Kief wrote the hook.  His chart-topping lyrics even earned him a Grammy nomination.  Kief is also responsible for writing and/or co-writing songs for Plies (“With You”) and Stuey Rock (“Leanin”).  As he continues to capitalize on his writing skills, Kief is spending time working on his own projects and doing features on other artists songs.  Most recently, Kief Brown can be seen belting out the hook on Alley Boy’s “Know Bout” video.

Our boy Windsor Jones recently caught up with Kief during a studio session.  Check out this exclusive footage of Kief working on some new music…

Alley Boy’s “Know Bout” feat. Kief Brown

Exclusive: Super Producer Cheeze Speaks On Wale, French Montana, His Grind, & Reason To “Never Quit”

When it comes to music production, Atlanta houses some of the hottest and most notable producers in the game. You can safely say, there isn’t one artist who hasn’t traveled to the city for beats.  Well, in 2013, there’s one super producer in the A that will get his fair share of artists seeking his services. Like, the Maybach Music Group.  Yes, Cheeze recently pinned down production credits on Wale’s Folarin mixtape with “Back 2 Ballin”, which features French Montana.

The grind will continue in 2013 for Cheeze, though.  After producing cuts for Yung Joc for many years, the Swagg Team affiliate plans to work with Rick Ross, Wale, Meek Mill, and others.  Tronzai Media and Windsor Jones recently caught up with Cheeze to talk about his grind, present/future projects, and his advice to young producers trying to make in the game.

Check out the exclusive interview below:

Follow Cheeze on Twitter @ CheezeBeatz, Instagram @ IAm_Cheeze !!!

Exclusive: Rap Duo ‘Rich Kidz’ Talks Being Young & Successful, New Label Deal, & Their Love For The Ladies

In the world of music where styles are forever evolving, history sometimes repeats itself and just about  any and everything goes, some artists struggle to establish their identities while there are others that emerge in full force with a clear vision, a solid identity and in full command of their craft. Well hailing from the ATL’s infamous Bankhead area is the rap group Rich Kidz who has secured their spot and stand out in the latter category.  While they originally started out with six members, the redefined and revamped group is now a powerhouse duo that is RK Kaelub and Skateboard Skooly. 

It’s no doubt that the fellas are paving their own lane and have deemed themselves as “an Atlanta-based musical force of young entrepreneurs achieving success.”  On their quest for success, the Rich Kidz not only want to enlighten the masses through their music, but also show others who are serious about their grind how putting in work for real, for real pays off. Having already gotten off to a booming start with their early career hit songs “Wassup” and “My Patna Dem”, Kaelub and Skooly have managed to keep the party and their grind going with their more recent success songs, “We Was Supposed to Stop, But Didn’t” and “Straight Like That”.

After having to jump a few hurdles, then founding and deciding to sign themselves to their own label, Rich Kidz Music Group, to their Straight Like That 3 mixtape and now having landed a deal with Columbia Records, everything seems to falling into place for the Rich Kidz as they ready for their major label debut. Their success is undoubtedly eminent and fortunately in the midst of all the Rich Kidz have going with their hustle and flow, STACKS Magazine got the opportunity to briefly chop it up with these rising stars. As far as what’s different about the duo since they’ve grown up some, Kaelub says, “we’re evolving now.”

Check out the interview below to get a little more in-depth as to who the Rich Kidz really are, their connection to Grand Hustle and what the future holds for the Rich Kidz. Oh and for the young ladies that are big fans, listen up to find out if the fellas are single and what kind of women they like.   

Rich Kidz & Janda (STACKS Mag)

Exclusive: DG Yola Says He Originated “Broke Da Knob” + Speaks On His Past ‘Grand Hustle’ Affiliation, The Fans & Haters [Part 2]

In Part 1 [Exclusive:  DG Yola Explains Why He Won't Let Up After Attempted Murder & Jail Time] of our exlcusive interview with the Atlanta rapper, DG Yola spoke on the moments when his life changed from good to bad.  From once being one of the hottest new rappers out of the ATL to his unfortunate shooting incident then jail time, Yola’s life has truly been a rollercoaster.  Nevertheless, he’s prevailing.  Soon to be released from the halfway house, Yola has big plans for his future in music.  But, first he has some shit to get off his chest.

In this second part of our sit down, Yola explains where “broke da knob” originated. He clears up any speculation about his former affiliation with Grand Hustle and if he prefers to be signed to a major label or stay independent. Lastly, Yola shares some words for all of his loyal fans and haters.

Check out Part 2 below…

So you just had a recent mixtape, ‘Mr. Broke da Knob’…what is “broke da knob”?

DG Yola: (Laughs) You know when I was in prison right this how I came about that right there. When I was in prison you know a nigga tuned in to what was going out in the streets or whatever and everybody turn up, turn up, turn up, turn up, turn up’ so boom

And that ish came out of nowhere

DG Yola: It came out of nowhere right! So I analyzed that and you know y’all couldn’t hear me ‘cause I’m confined. But I got my campaign going down in chain gang. So I come up with the “Mr. Broke da Knob” situation cause everybody turning up and to speak on that situation… why these niggas talking bout they breaking knobs now? What happened to turning up? What happened to going hard? You know that Kanye…”I go hard, go ham”…whatever they was doing. But now they wanna “break some knobs”. They be biting the swank. You feel what I’m saying, these niggas be biting my swag and stealing my bars and all that shit. Man, you know what I’m saying. But I commend y’all niggas though. ‘Cause one thing about it, I got so much of this shit. It’s so much of this swank it don’t even matter. I’m talking about for real you can bite that shit, whatever…keep it! I’ma come out with something else on your ass. Yeah all these niggas wanna break da knob now. Yeah.

So as far as that particular mixtape [Mr Broke Da Knob] with it being your most recent one, what was your thought process behind it? What story did you want to tell?

DG Yola: I really just wanted these folks to know that Yo ain’t went nowhere. Yo went and did that time, bossed all the way up, came all the way back even harder than how he left. That Yo don’t really care to much about nothing cause my patna Alfred and my patna Jesse and my patna Logan gone. I ain’t got no regard for y’all niggas or whatever. I want these folks to know that yeah you can do your thang but I’ma do my thang. ‘Cause I ain’t got no deal. Y’all niggas got these majors behind you and you hiding behind this cash and you hiding behind all this shit here but I’m doing this shit out my pocket, in the streets with it and I want these folks to respect this shit and they gon respect it regardless of the situation. So that’s what Mr. Broke da Knob doing. That’s why the first song on there say ‘fuck niggas I don’t fuck wit’em…live real die real’. So at the end of the day, that’s what it is and they respect it and that what it is. Yo ain’t went nowhere. Yo way harder than he used to be. I ain’t the same nigga I used to be. So that’s what this CD was about. We dropped that in July (July 25th) and I got in trouble for that. I had did some shit on YouTube. I did a whole bunch of shit that I wasn’t supposed to do and word got back to the warden and he sat me down for like 40 something days. I could’ve actually came back out if I would’ve been listening to what he was saying but I wasn’t paying attention cause I thought I was going to get shipped or something. But he sat me down and now I’m back out. I’m bout to drop ‘Mr. Shine Wit No Lights On’.

So that’s your next mixtape [Mr Shine Wit No Lights On]?

DG Yola: Yeah…that’s with DJ Holiday .

As far as you catching that next big hit, because you will, so we’re just going to put that in the atmosphere…

DG Yola: You know I got a whole lot of hits. It’s just that I don’t think the world, I don’t think my fans and my associates and my peers give my music time to grow on them. ‘Cause I think they be stuck at that one hit hang…the “Ain’t Gon Let Up”. You know what I’m saying cause if you go back to “7 grams”, “14 grams”, “Never Gon Stop”, “Still Standing”, “Been in the Streets”…it’s so many songs that I’ve put out that got potential to be hits. But they just won’t let’em be hits. They just stuck on “Ain’t Gon Let Up” and I feel like really that song been riding since 05’ right. If that’s what y’all want…I’ma give y’all that. I swear to God…I’ma just keep putting music out and we can keep riding to “Ain’t Gon Let Up”. It don’t matter…however y’all wanna do it. You feel what I’m saying, but I got so many other songs. You just got to give’em time to grow…give’em time to grow on you. But folks so caught up on that to where…that’s what it is..we ain’t gon let up. That what it is!

At one point you were affiliated with Grand Hustle, were you signed to Grand Hustle?

DG Yola: Nah, I wasn’t never signed to Grand Hustle. I was signed to Atlantic Records. I signed my record label Power Hitters Entertainment to Atlantic Records and from my understanding they didn’t know how to market me. So they put me with T.I. so he could market me ‘cause he was like the closest thing they had to the streets, Grand Hustle or whatever. And really I wasn’t feeling that ‘cause I didn’t want to go up under T.I., no disrespect to T.I. I just saw Tip the other day…no disrespect to Tip. But I didn’t want to go up under homes ‘cause I was looking at his track record with other artists. And I did this at a young age. I saw what happened with all his other artists where they didn’t never really fully do what they needed to do…nobody but Dro. And I just didn’t wanna get caught up in that. But I respect Grand Hustle. I respect the whole Grand Hustle movement, but I just didn’t want get caught with that. I didn’t want to be locked in with something to where I can’t branch off and do my thang. He the King, I’m the Great you know what I’m saying so I bucked the whole situation.

So, do you have any plans with any major labels or are you going to try to stay independent?

DG Yola: Man really man, I’m open for opportunities. I open for opportunities. Whoever feels like they wanna work with me, I’m willing to work. I ain’t the same person I used to be…not the lil hard head snot nose running around. I’m more business minded right now…on my grown man shit. So I’m willing to work with whoever wanna work with me. But from what I see it’s like they scared of me or something. It’s like they don’t wanna touch me. They got so much bad shit to say about me.

You’re a liability, they don’t know if you’re going to stay out of trouble.

DG Yola: I guess my bad outweighing my good. But I’m not going to do that no more. I’m not going to get in trouble no more. So it’s just a chance. Life’s about risk. You got to take chances you know what I’m saying and I’m the best thang smoking round’ here straight up. I’m the best thang smoking…the solidest thing you finna get to really being in the streets. So if you ain’t fucking with me, you really ain’t fucking with nothing. You watered down to death. Ya’ll folks really watered down man. You ain’t fucking with nothing. I’m the realest thing going. I can go in any hood right now. Any hood, it’s all respect from the Westside of Atlanta, Martin Luther King, all to Panola Rd. in Decatur, all the way to Buckhead and Chamblee, Dunwoody…all up through there them folks know Yo and Yo get plenty respect. Cause I’m out here and they see it. The streets see it! I live by this shit…I’ma die by it. It’s real…100!

So as far as last words…anything you want to say to your fans, to people that’s been down and/or to the haters?

DG Yola: Yeah. I wanna say rest in peace to Alfred Person, Jesse James, Big Logan, Big Meat, Kenny, Cheese, Mike Mike, Alvin, Head, Keon…all my fallen Allen Temple soldiers. I got so many to name. I could just go on and on. To all my fans, I wanna tell y’all I appreciate y’all for staying down with me at the hardest of moments and for staying down with me at the best of moments. I love y’all the same way y’all love me. As far as my hood, Allen Temple, Reed Circle til the death of me, y’all already know I got this here. Westside bound, Martin Luther King you understand, Eastland Dr, Middleton Rd., all that…one hundred Allen Temple. And all my haters…y’all can lick the bottom of these Gucci’s. Y’all can suck my toes. Y’all can do everything y’all wanna do…just hate me. ‘Cause without y’all I wouldn’t be a motherfucking thang. ‘Cause if y’all wasn’t hating that mean I wouldn’t be doing shit. And the crazy part about the haters right…I ain’t getting too much hate ‘cause they know I’m dead serious. They know I’m dead serious. So I ain’t getting too much hate. But for those of you who do hate me…Fuck you straight up! And at the end of the day I wanna say I appreciate y’all for coming through sharing this time with me and giving me the opportunity to do this. I appreciate y’all so much. Thank You! It’s Power Hitters…Lady B what’s happening…Midnight Black ‘preciate you for giving me the opportunity. Straight Up!

To stay updated on DG Yola and his music, go to www.DGYolaonline.com. Follow him on Twitter @DGYola, Instagram @dagreatyola and Facebook @BrokedaKnob and his FB fan page is DGYola.

Special thanks to DG Yola, Lady B,  & Power Hittas Entertainment!

Exclusive: DG Yola Explains Why He Won’t Let Up After Attempted Murder & Jail Time [Part 1]

In the early 2000’s, a young gunner stepped on the southern rap scene who personified what the real Atlanta streets were about. Anybody who’s familiar with the Westside of Atlanta, and the infamous Allen Temple Apartments, understands the tough nature of its youth and the environment that raised them. Da Great Yola aka DG Yola is a product of this environment. You can hear it in his rhymes bar after bar. You can trace it in his years of unfortunate circumstances (i.e. being shot in the face in 2005). You can even feel the passion and discord when he speaks about his long hiatus from music due to being incarcerated.

Despite his misfortunes, DG Yola is a household name amongst his southern rap counterparts. His classic banger “Ain’t Gone Let Up” became a staple in DJ rotations and signified his spot in rap. Yola’s incomparable voice can’t be duplicated. This is why no one has really captured his essence while he’s been gone. But, the question is “is he ready to return and pick up where he left off?”

Well, DG Yola says YES. After all the trials, tribulations, and deaths he’s dealt with in the last 7 years, he has more to prove to himself and the critics. This is why he released the mixtape “Mr Broke Da Knob” in the summer of 2012. The project dropped to good reviews. For Yola, this was the motivation he needed to keep pushing. Although, he is currently spending days in a half-way house, Yola is using his nights and weekends to his full advantage. As such, STACKS Magazine was lucky enough to get the opportunity to sit down for an exclusive. When we say “exclusive”, we mean EXCLUSIVE!

Check out what DG Yola had to say regarding his start in the game, the shooting incident, jail time, and how he feels about the haters and fake niggaz in the rap game.

Tell us where your name comes from and little bit of background about yourself and what made you start rapping.

DG Yola: Well first all of grew up in Allen Temple…It’s on my birth certificate originally. About the name, first I had Yola da Great. That came from Rudy Ramone, but once I got signed to Atlantic or whatever, somebody in China already had the name. So I changed Yola da Great to DG Yola. DG stands for Da Great. So it’s Da Great Yola, you know what I’m saying. That’s how I came about the name or whatever cause I used to sell crack on Martin Luther King and all the Mario’s in the hood, they call’em lil Yo. So they called me lil Yo and I just put the ‘la’ on it. That’s how I came up with Yola.

So you chasing the dream…05’ you come with this hit ‘Ain’t Gon Let Up’. How did that song come about? Who produced the track?

DG Yola: My patna Wynn produced it. Big shout out to Wynn…ATM. The song actually came about…I was mad at one of my best patnas Alfred Person rest in peace. I was mad at him and I went to writing and that’s how the song came about. We didn’t think it was no hit or nothing. We thought it was another song. But once I did it and we put it in the club or whatever…it just blew up! Yeah that was like was of my first little songs to blow up.

So the song itself, it’s a classic now. Like you know if they play the song now everybody knows it word for word. So at that moment when you realized like “damn this song is about to take me to another level” how did that moment feel for you? Was it like “I’m there”?

DG Yola: That moment was crazy. ‘Cause during the process of that song taking me to where I was, I was geeked up all the time. So shit, that process there was crazy. Because when the song took flight, I was high as a muthafucka and I stayed high. We stayed high so it was like…it was just crazy. I didn’t wanna listen to nobody. I didn’t wanna do shit. I just wanted to do what I wanted to do when I wanted to do it and how I wanted to do it. And that resulted to me getting shot in the face you know what I’m saying shooting people, going to prison ‘cause I didn’t listen. I wasn’t nothing but 19…20.

So yeah that shit…and then the money really drove me crazy…that shit really drove me crazy. I was buying everything then when I went broke it was just like…I sold everything. Shit I had to start from ground zero. But now that I don’t get high, I appreciate life and I appreciate everything a whole lot more than I did back then. So it was crazy…that whole lil thang. ‘Cause you know you got everybody in your ear. Everybody wanna hang around you. They got they’re hand out. That shit drove me crazy!

They say when that fame and fortune come…

DG Yola: Hell yeah…it drove me psycho

…you got to be tough to be able to handle it and maintain.

DG Yola: Yeah and I stayed in the hood a lot too. I didn’t branch out…I didn’t ever leave the hood. I stayed in the hood at all times. That was my base. That’s where I was…right there in Allen Temple. I didn’t never leave…still ain’t left.

So you talked about kind of the misfortune of you getting shot during the moment you was about to probably become one of the hottest rappers on the scene. Since that occurrence, I don’t know if you can speak on your current situation…

DG Yola: I can speak on anything!

As far as being in the halfway house at this point…can you speak on that?

DG Yola: Yeah…Hell yeah. Imma give you the raw. As far as the halfway house, that’s a part of my prison sentence. I got sentenced 12 years, serve 5 and I did like 4 of the 5…well 3 ½. So really the halfway house, I had just put in for it not knowing I would get accepted to go you know what I’m saying. I’m still fucking up right now cause at the end of the day I got to do my music. They want me to work…go to work every day but I ain’t never had a job. This is what I do so shit when they see this, if y’all see this…this what it is. I told y’all!

So shit with that situation right there, it’s a blessing ‘cause I’m not in prison and I’m able to be around you all, my family and everything like that. But I gotta take advantage of the moment. I got to seize the moment. So with the halfway house… shit they don’t want me to do this. They don’t want me to do no interviews, no music, no none of that shit and if I do it, they want me to be on the low key about the shit you know what I’m saying. But how can you be low key? How can you halfway do something? In this profession anyway, you can’t halfway do this shit. You got to go at it. So if they was to catch a whiff of what I was doing, 9 times out of 10, they’ll probably just move me out of Atlanta. They’ll probably just take me to LaGrange or some country town like that or whatever and let me do the rest of my time there. But it really wouldn’t matter ‘cause I’ll still work my shit out there. But I should be getting out that shit in a minute though. Like if it ain’t this month, next month, it’ll be some time next year or whatever. It’s just trials and tribulations.

Will you have any restrictions when you get out like as far as traveling out of state?

DG Yola: Naw, I don’t think so cause for parole, this a job too. Then like with my current situation with manager and them, I got a job in their eyes. That’s how I’m able to do this. So I don’t think it’ll be a problem. I think I’ll be able to travel or whatever. I just got to get that understanding with my parole officer.

With that situation and not to dwell on it, but as far as for advice for the guys that’s out there rapping or that’s in music but still like you said are heavily connected to the streets because we so much about rappers going to jail, doing this or getting in fights, shooting or whatever the case may be. What kind of advice can you give to the young adults to try to help them maintain and focus on their career if they’re really trying to be successful?

DG Yola: Well I can tell them the same thing I told one of my lil patnas. You can’t do both of’em. It ain’t no way in the world you can do both of’em. You can’t sell dope and rap so one of’em gotta go. You’re going to either be a drug lord in the streets or you’re going to be a successful rapper. I had to make that transition too when I used to sell drugs. I couldn’t sell both of’em. Rap outweighed the dope game so that’s the route I chose.

So if you out there and you doing your thang and you doing both of’em at the same time something gon have to eventually give. You gon have to give one of’em up and I say go with the one that’s making you the most money. Rap made me the most money so that’s the one I went with. You feel what I’m saying? But you can’t do both of’em. Hell nawl cause if you selling dope and catching cases you ain’t gon be successful cause ain’t nobody gonna wanna touch you. That’s just like me and my situation. I wasn’t supposed to go to prison how I feel. I know what I did was wrong . I shot my people… I shot my cousin two times over some bullshit or whatever. But he ain’t the only one I done shot, but I shot him. So I had to do what I had to do and that shit put a strain on my shit. It stopped a whole bunch of stuff so it was like really…I won’t do that again. I’ll think before I do it again.

Do you think there’s that fine line when it comes to what rappers talk about in music and like you said at some point when you start selling music, albums and getting this money in…they aren’t really in the streets?

DG Yola: You know man I think all these rappers fake. I think all of’em fake, all of’em putting up these images, all of’em putting up these smoke screens… to fool their fans. Cause I’m out here every day straight up and if you don’t see these niggas in the club or whatever, you ain’t gon see these niggas out here interacting in these hoods. You ain’t finna see these niggas out here on these corners. You ain’t finna see these folks fucking with these real dope boys out here. I’m out here so I don’t see’em. You hear a whole bunch of shit about niggas in space, niggas doing this, niggas balling and all that…I don’t see that shit brah and I don’t fuck with it. You know what I’m saying…like I made that song “Live Real, Die Real” dog you know what I mean. So the thing about that…man I don’t see these niggas. These niggas fake to me straight up. I push up on niggas, niggas act funny cause they got that money. It don’t even matter. It don’t matter to me ‘cause I’ma do me regardless. I’ma keep it all the way 100 regardless of what the situation is. I’ma keep it 100, keep it street not industry…keep it in the streets. Ya feel what I’m saying.

Stay tuned for Part 2 with DG Yola…

The Demonstrator: Scrilla Talks CTE, His Respect for Jeezy & Why He Reps The “Real” Atlanta

Demonstration (dem-on-stra-tion) n. – the act or process of showing the existence or truth of something by giving proof or evidence.

When you think of a person who “demonstrates”, first thing that comes to mind is a person who has something to prove.  In music, proving that you are the best can be quite the task if you lack real talent. For rappers, it’s even harder if you lack swag too.  But, the city of Atlanta is known to breed the best when it comes to emcees with the total package: swag, charisma, and talent.  Well, the city may have just bred their next demonstrator.  Meet CTE World’s signee, Scrilla.

Hailing from Zone 4, Scrilla cleverly emodies all of those charactertistics mentioned above. After listening to his debut mixtape, The Demonstration, I could tell he was out to prove something. Not only to the cats he grew up with off Campbellton Road, but also to his boss Young Jeezy, his label mates, and any other doubter out there.  His rap style and content clearly signifies that he wants this [fame & fortune] real bad. Ask any rapper who’s been spitting rhymes since the age of 11 and just now receiving his chance at the spotlight. Oh, he’s definitely ready to “demonstrate”.

On Saturday, STACKS Magazine got the opportunity to chat it up with him during a pre-show interview at Vinyl.  That evening, Scrilla was headlining his own show. Before he ripped the stage, we touched on his start in rap, his respect for Young Jeezy, The Demonstration mixtape series Part I and II, and why he feels he represents the real Atlanta.

Interview + Performance of “Everythang” (10:00 mark)

For our readers, who don’t know who Scrilla is, can you give a brief history of where you come from, how long you been rapping, etc…

I’m from Atlanta, GA. Campbellton Road [Zone 4]…signed with Young Jeezy. CTE (the label) and No Line Gang Ent. You already know what it is. I started writing my own lyrics when I was around 11 or 12 years old. I’ve been interested in music all my life. But, I started writing my own music around 11 or 12 years old. Dreams do come true. If you work hard, dreams do come true.

Did you have it set out to join CTE? I read that you were performing in a club and Jeezy saw you and heard a song (and that’s how the link came about). But, I’m assuming that you had already seen the movement with CTE. It’s apparent, since you’re on CTE, that you said, “OK I can be down with this clique.”

You know I always respected his music. I’ve always been a Jeezy fan. When a person makes good music, I want to be a part of that too. I want to be what he is right now, a legend. I’m not trying to be here for one hit and then gone. But, when a person makes good music and you can vibe to it, you want to be a part of something or you gone venture off and try to be bigger than that sometimes. Basically, he gave me a chance. So I’m here to take my chance right now and show the world what I got.

‘The Demonstration’…

That’s my first mixtape on CTE. I put a lot of work in there. ‘The Demonstration’ was really easy because it was so much hype built around it, with me just being signed and all that. Like when I did ‘The Demonstration’, I was recording in my own basement. I had my own studio. So, I finished that whole mixtape on my own. Freestyling…not even writing nothing or anything. It came out to be really big, minus a setback, it came out really big for my first debut mixtape on CTE. I got a lot of features from CTE World.

The most recent song/video is “Movie On”. That’s a hot song. As far as any other songs on the mixtape, ‘The Demonstration’, what are the ones that are special to you? Or ones you feel as though will really penetrate the streets?

When you talking about streets, like club joints, we going to go with “Ask About Me”. That’s a joint with me and Jeezy on there. The songs that mean the most to me on the mixtape, they’re not street bangers. It’s something that I’m really talking about my life. “Like See What The Fame Do” and “No More”…and “My Life”, those are the songs. I can make club music all day because I be in the clubs. That’s easy to make that. But when you’re sitting down and you’re talking about your life, you have to take the time and tell the people who you really are. So those are the tracks that mean something to me. Those three tracks “See What The Fame Do”, “My Life”, and “No More” …yeah I got to say them are my favorite tracks.

One thing you speak about is storytelling. I know that Young Jeezy is good at storytelling. When it comes to storytelling, were there any other rappers like Nas (who has perfected the art of storytelling) that you look up to?

Well, all of them did (i.e. Outkast, Jay-Z) all of them. I really couldn’t see where some of them were coming from because I’m not from there. What Jeezy was talking about, he was talking the streets where we come from, the South. We had Outkast do it. They perfected the art of storytelling (if you want to say) talking about stuff. But, at a street level, it was him [Jeezy] that put that whole movement behind the whole streets in the “A”. Him, Tip and a couple of other artists (i.e. Rocko) that talk about stuff I can relate to…everyday, because I see it and I’m around it and live it.

So the next project is part II [‘The Demonstration’], is it like a continuation? Is it something new? Will you be speaking on new topics? Or diving more into more personal things?

‘The Demonstration II’ is really showing you more talent from me from all levels. Demonstration I was street, club,… tell you the story. Now, you about to see the talent of what I really can do behind these beats. Even though it’s finish, I got 86 songs I can pick from. So, I will take time and pick out the right ones and give the fans what they want. Now, you got the right production. Now everybody wants to mess with you. You have other big producers that want to come in and give you tracks. Or you get more features on the Demonstration II. On the Demonstration I, which is a couple dudes I knew from the streets and my CTE family.

Bels – Now they know what you can do!

But, now we about to touch a whole other crowd. We’re trying to take all this F-k shit that folks be talking about. We don’t want to hear that shit. We want to know what’s really going on out there and that’s what I’m about to give you. People have seen what we did in the club. I don’t know about everybody else. People know what No Line Gang is. I can’t speak on nobody else because I haven’t seen it. I’m sorry. When it comes down, I’m about to give you the street side and I’m about to be more business minded about the whole situation. I’m bringing out everything. I’m hitting them with everything.

Any major features that will be on there?

Ain’t going to speak too soon. I got Jeezy back on there. I got Cap. I got Freddie Gibbs. I got Quan Rich (a new artist out there). I’m not even gone tell who all I got on there yet because it ain’t been official. But I got some surprises for y’all. I got Jackie Chan on there. Linking up with Don Trip. I ain’t even gone… [laughs]

So when do you plan on releasing that project?

Soon. We ain’t really put a date on it. It’s going to come by the end of this year or the first of the year. I’m not gone keep people waiting.

What do want your fans and our readers of STACKS Magazine to know about Scrilla? What does Scrilla represent?

I represent keeping it real (being real with yourself and never falling for bullshit). I stand for something. I stand for my hood Zone 4. I stand for Atlanta. I don’t know what other people thought Atlanta was. I don’t do all that other bullshit that other people be kicking. But, I just want them to know I stand for myself. I speak for my clique. I speak for CTE World, It’s the World. So that’s what I stand for. I stand for the world: a young average nigga that make money and talk about it and be free. I’m just a cool ass nigga. See me out I’ll say what’s up. I’m not arrogant. I might be arrogant sometimes. Catch me on a bad day I might flip. I’m a Gemini. But, I’m not going take it out on everybody. I take it on that certain person. If it’s that m-f, I’m talking to your m-f ass. But, just me, I’m just cool ask anybody in Atlanta. Other people got their opinions, f-k ‘em. At the end of the day, I stand for Atlanta. I stand for the world. It’s the world, CTE World. Zone 4 Campbellton Rd.

To stay updated on Scrilla’s world, check out his website at www.scrillaworld.com. Also follow him on Twitter @Scrilla !!

Skype Interviews #1: Numonics – Producer Extraordinaire

John Rosenfeld is just a regular guy. Numonics, however, is not a regular producer. In order to give a fresh perspective (and use technology), we decided to have our convo over Skype. Plus, he was feeling under the weather. So, talking wouldn’t have been his strongest point. Yet and still, Numonics gave a great interview into his music, his life, and what he believes in.

Mark A. Harris: In a previous interview, you noted that some of the Miami artists didn’t shed a realistically positive light for the music. At this moment, do you still feel the same way?

Numonics: Well I feel that way in regards to what’s being promoted nationally out of Miami. I don’t think it’s really indicative of South Florida hip hop, more so a portrayed image. And I think the best way to explain what I mean by “positive light” is the quality itself. I don’t feel Poe Boy, Maybach, to a much lesser extent Slip-N-Slide really showcase what great music is made down here.

Mark A. Harris: So basically, they are a pure misrepresentation of the dynamics that is South Florida hip hop?

Numonics: In my opinion, yes. what’s portrayed nationally is more Atlanta sounding or off the dance floor variety (i.e. Pitbull, Flo-Rida). Our scene here is as diverse as South Florida is culturally. We are unique to the south in the sense that people from all over the country decide to move to South Florida and it really has an effect on the music that’s embraced here. We have a sound more so potpourri than narrowly defined.

Basically what I’m getting at is there’s more to Miami music than that Rick Ross sound.

Mark A. Harris: Beautifully stated!

Numonics: Imagine when i don’t have the flu ha

Mark A. Harris: Musically, what has influenced your approach to producing? Whether it be past artists, past life experiences, or present situations: what motivates the greatness that is Numonics?

Numonics: For me, I grew up being almost compulsively obsessed with music. My childhood consisted of a lot of Tuesday CD shopping, music magazines of all genres, etc. I wanted to get into music to really be more a part of what I followed so closely. My biggest inspiration for my approach to music is the therapeutic nature of it. I always joke that I’ll never need a therapist because I can always just make a beat. Music, whether creating it or just appreciating it, has always been a way for me to deal with every day life’s trials & tribulations.

I think because it’s always provided this feeling for me is what has allowed me to progress as a producer. i never get frustrated or annoyed at my work. Specific producers: pete rock, dj premier, just blaze, the heatmakerz, evidence, j dilla, blue sky black death, j83.

Mark A. Harris: You mention your favorite music magazines. What magazines cross your whenever you reminisce?

Numonics: I read URB, The Source, XXL, EGOTRIP, Spin, one of the guitar ones (i believe Guitar World or some shit like that) …… lot of variety really. I’ve always liked a lot of different types of music. Basically id try mags out, get small subscriptions 6 issue or something. the most constant were URB & The Source.

Mark A. Harris: Impressive. I loved the Source when it was “real”. I was entranced by Urb the most, though. The way they displayed all music that was influenced by hip hop and such. It was so potent, focused, and enriching.

Numonics: For sure. I was heavy into trip hop (actually what i first started producing) and they would always have the ill articles on tricky massive attack DJ Shadow etc.

Mark A. Harris: Man! They would have the GREATEST articles on trip hop and all music associated with hip hop. I remember certain articles specifically…..

Numonics: Yea thats why I liked it so much and their compilation cd’s were too dope.

Mark A. Harris: Oh, Jesus……the compilations…..

Numonics: It got a little bad towards the end but they’re always be a couple gems on those cd’s. So crazy to get possibly every musical genre with the exception of rock on one cd. Thats what made em dope.

Mark A. Harris: Exactly. And their articles weren’t average stuff. They did an article about Massive Attack and how their members couldn’t even get a long to keep making music. LOL!

Numonics: God bless them for that….Massive attack have too many good songs.

Mark A. Harris: Way too manyWow…that went on a tangent. LOL!.

Numonics: Little bit ha…all good.  I think I maybe digging up some old cd’s to throw in the whip after this.

Mark A. Harris: You have worked with Co$$, J Nics, and will be working with other artists (Knowledge Medina, Reks, etc.) . Give me the reasons why you enjoy working with the artists that you work with.

Numonics: 1. Co$$ – Has the most unique delivery in the whole damn genre. Combine that with his ability to speak on the streets, his life and esoteric thoughts as well. It’s what makes him unique. Scarcity is important, that’s where true value resides. I feel how he raps is few and far between and an incredible talent.

J NiCS – Another guy that has the ability to do street records and deep thinking ones. He’s gifted with that voice of his but has continually progressed as a MC. he’s also one of the best human beings i know. i love working with good people. i want to see him shine.

Reks – Ive been a fan of Reks for so long. That fast paced machine gun flow coupled with excellent choice in production is what makes him special. He has some of my favorite songs (ie 25th hour) and im just honored to have produced a full album for him. Our album “Rebelutionary” drops July 24th on Gracie Productions.

In regards to my other projects (J57 x Numonics – LI FTW, Dynas x Numonics – Commercial Music, Saheed x Numonics – Not For Nothing, LMS x Numonics – I am the one and only, Gotham Green x Numonics – Untitled), I aim to work with high quality people who are great at what they do. For me, my music is personal so its important to have a good working relationship with who you make it with. It’s much better to make art with your friends.

I forgot to throw Knowledge Medina – Never Enough in there.

Mark A. Harris: MAN! You must be the hardest working producer in the 305 area.

Numonics: Technically 954 ! I’m in ft lauderdale. I figured I’d throw that in for journalistic integrity sake ha!

Mark A. Harris: Oh, word? Broward county? Yeah, I need that journalistic integrity here and there.

Numonics: I’m pretty much misquoted where I live in 90% of the shit you’ll see from me online. The funniest is when I’m listed being from California. You’ll see a lot of Miami and Tampa stuff listed for me but I live in the Ft Lauderdale area. I’m more in tune to live here than Miami. Rather drive 30 mins when I want to visit rather than live there but thats me.

Mark A. Harris: I hear ya. Makes sense to me. I live in Riverdale. Living in the heart of Atlanta is cool….but it interests me not.

Numonics: Exactly.

Mark A. Harris: Listening to your Champion Rizla (yeah, I listened to it extensively last year) and the Knowledge Medina joint, I noticed your ability to chop and alter loops. What do you use? Do you prefer sampling or your own created instrument sounds?

Numonics: I try to do a combo of the two. I use Logic, Kontakt, Reason for the sample stuff. I play guitar and bass (you hear the most of that on Never Enough). I look for a sample with that feel and add on top of it. I dont necessarily have a preference for one or the other, people tend to gravitate more towards the sample stuff.

Mark A. Harris: How long have you been playing the guitar and the bass?

Numonics: Not totally sure. I think maybe a year. There is no such thing as a realistic sounding synth guitar so I wanted to integrate it into my music. I played when i was a kid but I dont count that really. It did help when I first got back into it that I had a foundation. This next wave of releases have me on guitar on at least one song. I’m no master but I can compose with it, thats all I was aiming for.

Mark A. Harris: Excellent. How much of your childhood has played into the music you make and the approach you take?

Numonics: Good question. I’m stumbling over this one a little. The easy way to say it is this. I was raised in New york, my mother was sick for most of the time til I was 10. My family raised me with help of a Trinidadian and a Jamaican woman. I was exposed to great music as a child, diverse music. Hip hop has alwyas been the one thing that stuck. I went thru many music phases like most people do but hip hop was the constant. It was also my first music purchase. naughty by nature’s 1st album. Also as a kid I loved to read about revolutionaries and champions of people’s rights. Thats really what has defined me personally. I just want to make the best music I possibly can and make you think.

Mark A. Harris: Wow. And have you ever told people about all of this?

Numonics: Possibly. I’ve done a few interviews and I’m not embarassed about anything in my life so I try to just tell it how it is.

Mark A. Harris: Dope!  So, what music “takes you there”? What hip hop albums (besides Naughty By Nature) made you say “Damn, I love hip hop” and why?

Numonics: Pharcyde 1st 2 albums, De La Soul – Stakes is high, 1st 2 Public Enemy records, Common – Like Water For Chocolate, theres really too many to list. For me, i need to feel something. it can be from the beat, what you’re saying on the track, etc. just stimulate the brain a bit ,ya know?

Mark A. Harris: I hear/read that!  That’s all I got for this interview, sir. This was impressive!

Numonics: Thanks man, let me know when it comes out. much appreciated!  My official site is TheNuWorldOrder.com  and RebelutionaryMinded.com.  Co$$ and Numonics – Genesis drops in June. Ft’s from Ras Kass, Planet Asia, Reks, J NiCS + more.

Mark A. Harris: Dopeness!

Numonics: My album with Reks “Rebelutionary” drops July 24th in CD, Vinyl & Digital formats. Features from Jon Connor, Termanology, Krondon and more.

Thanks again! Have a good night. I’m gonna go pass out again. This flu/cold/whatever is the worst.

Mark A. Harris: I feel that, sir. Get some rest. And thank you for your time!

Studio Exclusive: Authenticity Complete- The Life and Times of S.L. Jones (Pt. 2)

In the previous article, there was a discussion about what makes S.L. Jones who he is. Musically, he is an artist that wants to establish his own sound. This drove him to work with DJ Burn One. Carving out their own niche with Paraphernalia, Jones was allowed to open a portal for listeners to walk through. That portal could easily lead to understanding or confusion. Still, it was the street mentality that helped mold this man into the artist that he is now.

This time around, we get to discuss important aspects of his career: the independent hustle, working with Killer Mike, and how he met up with Freddie Gibbs.

The Independent Hustle or Not?

The independent grind may work for some, while others struggle to find their place. With S.L. Jones, he feels that your type of hustle is dependent upon your goals:

“The grind has been hella cool for me because it’s first nature. Nobody never gave me nothing and I don’t ask for nothing. So, it kinda go hand in hand with my mentality. Personally, I’m not anti-deals at all. To me that’s business. What you deserve and what they offer you are two different things. I feel you have to earn everything first off. Once you work hard, all I fell a person deserves is an opportunity. “

For S.L. Jones, it is mainly about making the most of a situation. Being a hustler first, rapper second, it is easy for him to look at major deals as “just business”. Realizing that, at the end of day, money comes first has molded Jones into becoming a smarter business man.

However, he is weary of those that sign major deals for the wrong reasons. To him, many artists sign deals “to look a certain way or to appear to be some way so bad”. Rather, he takes a more sensible approach. To him, if an artist signs a deal, “their life should change. They should be more than a tax write off. You shouldn’t still be doing the same thing”. S.L. only can imagine a deal if it bolsters his bottom line. IN the end, a major deal has to improve his livelihood or it isn’t worth the effort.

The Killer Mike Connection
The story behind his like to Killer Mike is actually a “right place at the right time” situation. S.L. would come out to Atlanta during the summer with his uncle. He freestyled for this guy named Malik at his studio (before S.L.’s true rapping days). With a microphone in a room full of rappers, the rhymes came. Killer heard him via Malik mixing his stuff down at Stankonia Studios. Once he found out who S.L. was, they linked up and started putting in work together.

The magical thing about it is that their relationship was built around respect. Then, it evolved into working together on music and touring. “He took me out on the road with him. We went everywhere! It was like 25 cities. I been around the country twice with him,” noted S.L. as he reminisced on his early days with Grind Time. Yet, he wanted to make sure people understood that Grind Time is not a company; it is a family. Nobody is around by accident. Also, he had to make sure that Killer Mike keeps a loyal team around him. S.L. made sure I understood that “Killer Mike is a business. There are people waking up every morning with Killer Mike on their mind.”

Jonesy and Gangsta Gibbs
What was even more interesting was how he became connected with Freddie Gibbs. From S.L.’s own words, all he did was “connect with him”. He didn’t need to contact a bunch of people to get to Gibbs. Rather, he connected directly with him. After trading music, what we have is the banging track “M.E.M.P.H.I.S.”

What was even more impressive was Gibb’s enthusiasm with the work. First of all, S. L. recognized the references Gibb’s made in his rhymes. Understanding the streets fully, he understood the references made about his Chicago Bulls references and his snapback being to the left. “I got family members that are GD’s. I got a homie that’s a Vice Lord. So, when I heard it, I knew he went it because anybody that know where he from know what he saying,” Jones noted. In laymen’s terms, game recognized game and SL is quite familiar.

At the end of the day, S. L. Jones wants to add some truth to what we call “hip hop music”. Everything may not be positive. He understands that. However, it is the level of genuineness in his rhymes that puts him over the top. Plus, he knows how he wants his music to sound. In summary, S. L. Jones is going to present the truth of the turf.

Studio Exclusive: S.L. Jones – The Voice of Authenticity

Authenticity: — adj – of undisputed origin or authorship; genuine: an authentic signature.

Authenticity is a quality that is lacking in this rap industry. While many claim to be authentic, it is rarely the case. Amongst these full frontal facades are the actors/actresses, the “wannabes”, and the hypocritical. Within the plastic frames and fragile mentalities lies the truth. Truth is this: authenticity and the rap industry are usually at war.

This is why many feel that the rap industry is “Hollywood”: it is who you know, not what you can do.

S.L. Jones, however, is not that type of artist. This Little Rock rep is known for his knack of honesty through his liquid lyrics, fluid delivery, and soluble swagger. Even more apparent is his past gang affiliation that he brought with him from Arkansas. The 23rd and Wolfe Street transplant will never forget about his home turf or his Crip affiliation. It is what taught him so much about the game, music or otherwise. Using all the game he garnered, Jones will now become an artist many will have to consider in this rat race called music.

Catching up with him after he put out Paraphernalia, his free album entirely produced by DJ Burn One, I took time to pick his brain about music, the independent hustle, and the reality behind the “glamor and glitz”. After the conversation, I was convinced that S.L. is in the position he is in due to pure wisdom and street savvy. Unlike many, he has chosen to transcend his past transgressions. Those lessons will only lead to legendary status.

PART ONE

The Music of Paraphernalia 
As far as the new album with DJ Burn One, it was originally supposed to be an EP. But, as S.L. let me know, “…it got finished so fast it felt like it was too quick. So, he was like ‘let’s just do a whole LP’.” What happened was a considerable amount of music using his past street life infused with original audible concoctions that ranged from Memphis pimp music to Texas Screw jams to even R&B interpolations. The smartest thing they ever done with the project was to allow it to grow on its own. Now, it is a free album that the world needs to hear.

There is more to why SL Jones picked Burn One. SL stated this:

“I tried so much, so I found myself at square one making music. You doing so many things, but as an artist, you are always trying to find your sound or a sound that isn’t defined. Once you popping, anything you get on goes. People are gonna look at it like a novelty. People get on a track and they define it as a sound. When you talk about a Lex Lugar track, there are certain voices that you hear on them: A Waka Flocka or a Rick Ross. Their voices are automatically tailored to the sound. So, when a track comes on, you automatically hear it in your mind. When you get on a beat like that, you are doing you. But, people want to identify you with a sound. With Burn, I had the opportunity to do something that sound like nothing”.

Additionally, Burn One also plays plenty of his own instruments. In fact, he was the guitar player on the song “Per Say”. With that given, SL Jones wanted to come with a sound that he would define instead of the sound defining him.

The Street Mentality Behind His Music
It is well known that SL represents the streets of Little Rock. From his perception, he notes that “It’s a gangland. You got everything: Bloods, Crips, GD’s, Vice Lords, the Mexicans. It’s really divided by sides. Crips are the minority and there are a lot of Bloods. So, you will have Bloods bang against other Bloods”. However, Crips don’t go against other Crips. Also, most rivalries are based on street politics. As SL would but it, “…there is a boss that is pushing the line; pushing their own agenda. That is why certain things (still) happen.” In addition, some issues are almost on the level of the Hatfield and McCoys: beefs from the past that are culturally ingrained. Thus, the street mentality is much more than simple rivalries based on “colors”.

Looking at how the gang mentality is today, though, SL notices a change. Actually, it is a change that he welcomes:

“It’s still poppin’. It’s still going down at the crib. But, it’s just different in the sense that you have other options. Your older brother might gangbang and you from the same neighborhood. But you on some hipster/cool shit. So, you ain’t wearing a Dickie suit, a flag, soldier Reeboks or K-Swiss. You ain’t dressed in the same attire as your uncle or older brother. But the affiliation is still there, so it’s still in you”.

Another relative point that was brought up was the effects of gentrification. Since so many projects are being torn down, SL Jones noted that “…Bloods, Crips, everything all in one projects. So you know it’s hot. At first, everybody had their own projects to live in. Now, they are tearing stuff down for the money. It’s a money thing, y’know. Class and money.” With government assistance as a way to control people of poverty, the government is having their way with housing situations. Thus, some of the gang situations is exacerbated by monetary greed.

Stay tuned for Part Two of STACKS Magazine’s Mark A. Harris exclusive interview with S.L. Jones…

Where Are They Now? Bass Music Legends Kilo Ali & Raheem The Dream

In the late 80′s, a new sound arose on the hip hop scene.  The sound was called “bass music”.  Originating in the South, bass music was the foundation to many artists who has since become known as legendary.  Not legendary in the sense of a past president or civil rights leader. But legendary in that they were instrumental in creating something new the music world had never heard.

Two gentlemen, whose artistic expression heralded for years on end, were forefathers of the bass movement.  Raheem The Dream and Kilo Ali set the pace for this new sound and has graced our radios and clubs with some of our most well-known rap records to date.

Recently, I had the opportunity to catch up with Raheem and Kilo at an Old School Sunday showcase event at Atlanta’s Major League Bar and Grill.  We discussed their rap careers, how the internet has helped their movements, business venutres, and much more.  Check out our STACKS Magazine exclusive below:

L to R: Kilo Ali, Bels (STACKS Mag), & Raheem The Dream

For the people that are not familiar with you two, let them know who you are.

Raheem: Well I’m most known for “The Most Beautiful Girl (In The World)”. I also put out a lot of groups like Dem Franchise Boyz with “White Tees” and Yola Da Great with “Ain’t Gone Let Up”. I put out Drama with “Left Right Left”. I put out The Dream (R&B star The Dream), Fa-Bo (D4L), Young Dro (Grand Hustle)…a lot of cats. So I’ve been pretty much behind the scenes in my later years putting out groups.

I started out in ’86 putting it down as Raheem The Dream in the south representing when they only had 12 inch vinyl and cassette. People nowadays they don’t even know about that. They like “what is that”. Aye, we did it from 12 inch, cassettes, to CD’s to what is now downloads.

Kilo Ali: I’m rapper Kilo Ali. I first started off as Kilo… Kilo G. I start doing the “Ali” when I moved to the Islamic field. I haven’t been up and practicing lately, but I was raised in that field [religion]. But I was like the 9th rapper out of Atlanta, out of Georgia. So, that’s when it was new. We laid a lot of ground for brothers to come up and enjoy themselves in music. I was the first rapper to do “bass music”. Some people in other places call it “go-go”. I was probably the first one to do a rap over it. It was a group called Success-N-Effect they did a bass beat. But in Atlanta, I was the first rapper to put a rap over it and started kicking it like that. I actually designed that style of rap in Atlanta. I designed “bass rap” in Atlanta. So I’ve been having fun. I’m from that Zone 1, that Bankhead, doing my thing. I just saw Shawty Lo just a few minutes ago. Carlos (rapper Shawty Lo) was little back in that day. Those guys were like 10, 11, 12 years old something like that. But, those kids out doing their thing. Shout outs to all the kids in Atlanta who have followed their dream and do what they wanted to do.

But, I had some songs like “Love In The Mouth”, which is now my biggest idea. My first single was America has a problem “Cocaine”. My second song was “Do You Hear What I Hear”. I had another hit called “Ghetto Drop” I don’t know if you guys heard that. I came back with another hit called “Tick Tock”. Then I went to “Show Me Love”, “Nasty Dancer”, and “Love In The Mouth”. Songs like that. I had fun. Professionally, I’ve released 7 albums under contract. I’ve been working now with a couple people. Raheem been working with me. Shout outs to his mom. She’s been doing a lot of bookings for us. We just want to give people a selection to do. I’m working in the studio now. Me and my partners, in Secret Services, are working at being a production team. Thank you for letting us get in the magazine.

Bels: I’m a big fan of your music. I grew up on it. It’s timeless.

Raheem: YES! Because today, they still book us. It’s 2012 and their still booking me and Kilo for shows. That’s timeless music. You got a lot of artists you don’t hear about them no more. Like MC Hammer and them, they were huge but you don’t hear about them no more. But certain music that we make is still here. Me and Kilo went in the studio just made two songs together. Believe that. They gone trip out on that it. Raheem and Kilo in the studio and made a record together! Yes, two records. [laughs]

What is the biggest difference in the music industry, then and now?

Raheem: Now, the way you buy music. That’s the only difference. We own our record labels so we use to be directly with the mom and pop stores and independent distributors. Now you don’t have no mom and pop stores and small distributors because everybody is downloading. Plus all the majors got ringtones, etc. So, if you’re trying to get your record in a deal these days, you have to have a lot of internet, a lot of ringtone action, download. We used to make promo CDs. But now they making like thousands of promo CDs as giveaways. They’re not putting a single on there. They are putting whole albums on there. I never did that. I love and appreciate my music too much to go in the studio and record 15 songs to give them all away to you free. I have to spend money on that, pay these producers et etc. This is our work. This is our lively hood. So what I’m saying is that we took time and put a real album together. That’s why we still here. We didn’t make them quick singles. We are here here.

Bels: Do you have a different opinion?

Kilo: No. I think that Rah hit that pretty decent. It’s the change in how products are being sold. You know it’s so many people that are talented because we all are born with inner talent. So everybody’s interested in ideas. With that, with it being flooded and the way it’s sold.

Do you think that the internet and technology are beneficial for you two?

Raheem: Yes, you can get it to people quicker now. When we used to do it, you had to hear it by word of mouth. They call it the “underground”. We’d get hot in this town, then hot in this town, then hot in this town. But with the internet, you can get hot worldwide in a week.

As far as the down time, I know that you’ve spent some time locked up. Did your music change? Did your mindset change before you went in to now? What are some of things you do differently?

Kilo: I don’t know. I think that every generation is adjusted to another ear. So, another sound another ear, that what makes it fresh to them. I would say that in order to save something you got to keep reviving it and make it younger. And have your own team. The guys do a good job. And fashion is top play now. Fashion and being able to host to people. Being able to take them out an idea. I see a lot of genuine ideas going on. And education is taking a bigger play and that’s what they want. That’s what they want to compliment themselves in their education. So that’s what they do.

What are some business ventures both of you are involved in?

Raheem: I’ve done a DVD. I’ve written three books, “How To Get Paid From the Record Game”, “The Record Game Can Be A Dirty Game”, and The Music Industry 101. I was given them information in the books because everywhere I went (and I go) everyone (artists, producers, managers) ask me a million questions. A lot of them were the same questions, so I decided to write a book because you don’t have to ask me a hundred times. You can thumb through pages and get all the information you want. They made me become an author to add up under my repertoire. I’ve done 12 albums, 3 books, a DVD, and put out several artists out of Atlanta. That’s pretty much all I’ve done since ’86.

Kilo: My next thing is… I want to get into the art world. I do abstract art now. I have a lot of paintings that I’m working on now. Just working around getting it introduced to the people in the correct direction. So that’s what I want to do, lay back and have my own gallery.

What’s next with the music?

Raheem: I finished an album it’s called “Back To The Future”. So I’m taking them “back” to the “future”. So it’s like a combination of where we started at because some people have to go back and sample records. We don’t have to sample. We just make them original.

Kilo: I’m sparring right now. I wouldn’t just say working on a project. I’d say adjusting a sound. Adjusting your lyrics, adjusting your swag, and it takes time to do that. So I’ll say I’m sparring. I’m in the gym.

If you are a fan and would like to stay updated on Raheem and Kilo’s next projects, following Raheem on Twitter @Tight2DefMusic, Facebook.com/Rah4Life, and Raheemthedream.com.  Kilo on Twitter @Talk2KiloAli.

Check out a few videos of their performance:

To see Raheem & Kilo’s perform other classics, go to our Youtube page, STACKSMAG!

Special shout out to KC & Tory of Major League Bar for the media access and Six08Portriats for the pics!

New Music: Senor Kaos – Da Bitchez 2012 (prod. by DJ Eleven)

via press release:

In 94 Jeru The Damaja and DJ Premier created a song called “Da Bitchez” for the “Sun Rises In The East” LP. The song touched on the back stabbing, gold digging, trifeling women and their ways.

18 years later…all we see on Television is reality shows with women with foul mouths ulterior motives. This has spilled into the real world, where some of these chicks have completely gotten out of line with their tactics. The time has come once again to warn the fellas to keep ya head up and ya eyes open, don’t be fooled or tricked and make sure you set your sights on a real woman and nothing less. Dedicated to some of my friends and family who have fell victim to the clutches of an evil bi*&h.

DJ Eleven (NYC) flipped the beat, and I flipped the lyrics. Salute to Jeru and Premier for the inspiration.

Listen & Download: Señor Kaos & DJ Eleven – “Da Bitchez 2012″ via Here .

This is the first track from my upcoming EP “Mama Said The Sun Rises In The Resurrection” Coming July 3rd, 2012.

Featuring production and apperances from: DJ Jazzy Jeff, DJ Exit, Buck Oner, DJ Eleven, and Punchline.

Production by DJ Eleven / Artwork by Warren aka Grilled Cheese Huston.

Original song written by Jeru The Damaja & produced by DJ Premier.

Shout out to Senor Kaos for sending this joint over!

Midnight Black: Rap’s Street Impresario with the Platinum Touch

Throughout the evolution of rap music, there’s been an array of sounds that have defined the genre. From early hip hop to gangster music, rap artists have relied on their production to help translate their realities into songs. In the South, in particular, heavy drums and bass help tell the story of rappers who has grown up in the streets. Like Young Jeezy, Plies, and Eightball & MJG, these street lyricists all have relied on one man to musically visualize and transform their lives in beat form.

Meet Tracey Sewell aka Midnight Black.

This platinum-recording producer and songwriter has had a successful career that spans over 10 years. Born and raised on the Westside of Atlanta, Georgia, Midnight Black’s own realities of serving prison time and living that street-life, easily justifies why he is the “go-to” guy for rappers who want street and club bangers. The man who helped shape the Corporate Thugz Entertainment (CTE) sound, is about as low-key as Young Jeezy on a personal level.  Professionally, his production speaks for itself as he creates masterpieces in a basement studio adorned with numerous gold and platinum plaques. Not the one for the spotlight, Midnight Black is humbled by the accolades but wishes to one day receive that Holy Grail in music…a Grammy award.  So, let’s just say he doesn’t plan on stopping anytime time soon. In 2012, the “trap star of street music” wishes to expand his musical platform and give the world something they’ve never heard. With current projects in the work with Southside Atlanta rapper 2 Chainz, Plies, and CTE artist Freddie Gibbs, Midnight Black will pull in overtime in the studio to make sure he gives each artist “1000%…whatever it takes to get the job done”.

Right before Christmas and after the recent release of Young Jeezy’s TM:103 album, STACKS Magazine was given the opportunity to sit down with Midnight Black. We talked openly and candidly about his life, the long list of artists he’s worked with, what new producers can expect in this business,  the Midnight Massacre mixtape, and much more.

Here’s the full interview:

What city are you from?
MB: Well, I’m Midnight Black, I’m from Adamsville USA. For all of you that don’t know, that’s on the Westside of Atlanta, Georgia…where I was born and raised.

How long have you been producing music?
MB: This is my 10th year “professionally”. Professionally meaning, when you’re getting checks in the mail…that’s when you are a producer. Before you begin doing that, you’re just an “aspiring” producer.

What inspired you to get into the music business and become a producer?
MB: I always had a love for music. I got caught up in a bad situation. I had to choose another game and this is the game I chose. So, I dived in it…full fledged.
Tell our readers, who some of the artists are that you’ve produced tracks for.
MB: I started off producing stuff like “Mr. Big Time”, “Check My Footwork”, Trillville “Watch Me Do This”, Kizzy Rock, Pastor Troy, and DSGB stuff. My first placement was Greg Street’s “Vol. 1 6’oclock” when Greg Street released his mixtape nationally (and put them in stores and stuff) when he was signed to Atlantic. My second project was a Sammy remix I did for Dallas Austin, “I Like It” that went platinum. I did the Sammy Sam album “Step Daddy” album, DSGB album. And from there I went to make the Boyz In The Hood album with Young Jeezy and Block. And then I went to Jeezy…oh wait…no, I went to Ying Yang twins. I had two on that album that went platinum. After that album went platinum, Jeezy came through with his movement.  I had two on that album that went double platinum. Plies came…and he kept going gold, gold, gold with the work we did on all 3 albums. I’ve been on all four Jeezy albums: TM:101, Thug Motivation 101, The Inspiration, The Recession, and right now TM:103. I did “All We Do (Smoke & Fuck)”. I got the new Plies sh*t jumping the “28 Grams”. I f*cked with the DJ mixtapes that’s doing good in the streets right now.

What is your process when creating a new track? How do you get into your zone?
MB: My creative process is really spontaneous. It’s like I can be sitting here thinking about a beat. When yall leave, I’m going to make that muthaf*cka. Or I can be driving or I can be in there fishing and make a beat. It comes…I try to get it out when it comes.

What equipment do you use?
MB: I can’t lie. For every album and everything I’ve ever done, I never use the same thing. I always change it up because music is changing. They got some new sh*t that’s better than the sh*t they had last year. You got to keep up with that sh*t if you really doing that sh*t. So I make sure I invest in my sounds and sh*t. So me, I use everything. Ain’t no telling what the f*ck I’m going to do. It’s like “Go Hard or Go Home” that was live. That was live bass, live guitar, and some horns. Sometimes, I don’t Midi up to make a beat. That means, I’m going live into Protools…live with no sync. It’s a creation. So it’s like whatever I’m trying to get out musically, I got to get it out to and paint the picture. So when you hear it, you’ll get it. I don’t like doing stuff where you got to figure it out. Because you got to sit there and figure that shit out, that mean I didn’t do my job. When it comes on, it need to capture your soul. It got to feel like a drug. Like ooh, that sh*t feels so good…”turn that on again”. Music is supposed to motivate you. It’s like soup. Whenever you eat it, it’s going to be good for you.

{pause: Midnight wants to make sure he shout out a few people…}

     Oh don’t forget, these some ni**as I’ve always love…Eightball & MJG. I love working with them. Shout out to them and Big Duke, Slim from 112. I did his solo album. I executive produced for that. I had 7 songs on that. Me, Slim and a couple of other guys. Shout out to Pauly Calhoun and the Calhoun Boys and my boy Scooby-Do, Scooby-Do you what I’m talking about. So we had fun making that album. Faith Evans writing and stuff. Those were good times. Me and Sean Garret did some stuff together as well.

How long does it take you to create a hit? What are the key components to creating a hit song?
MB: To be honest with you, a hit is like “love”…you can’t describe it. It’s indescribable. When it comes on, when you get it…you feel it. That’s what a “hit” is. I go in there and try to paint the picture I’m trying to paint. But when it’s mixed in with vocals, whatever the projection is, sometimes you hit and you miss. It’s like gumbo. I don’t think nobody has the hand book or the road map for making hits. I don’t think anybody that’s ever been in the music game, stayed on top. Everybody has had dry spots. Even then, you just keep going and keep going and keep going until you can’t go no more.

Do you have a certain style of music (i.e. street, pop, R&B, etc) that you mainly create?
MB: I do like whatever’s for the cause. Or whatever I got to do to get the job done. If I’m f*cking with Jeezy, I know I got to give him that hard sh*t. If I’m f*cking with Plies, I know I got to give him that ghetto hard sh*t…that backwood hard sh*t. If I’m f*cking with Eightball & MJG, I know I got to give them that “pimping”.

     I feel that I’ve done a lot. But it’s a lot that the world hasn’t even heard yet. When they hear it, it’s a wrap. I love music and I feel that sometimes I have to slow down. I’ll put it like that, I have to slow down.

{pause: Midnight’s phone started ringing…}
Have you ever said “No” to an artist who wanted tracks from you? What does the artist need to bring to the table when you work with them?
MB: Yes, I get a million people coming to me. I f*ck with the city and the ones who really trying to do it. The ones whose trying to do the same thing I’m doing. I invest my money in it. So, they got to invest they money in it and they got to invest they time in it. Ain’t shit in this game free. You ain’t gone make no money if you ain’t gone spend no money. Point blank period.

     The artists coming to me has really got to be developed. I ain’t got the time to play with a muthaf*cka. I aint got that time to sit down and baby sit a muthaf*cka. A muthaf*cka got to come to me ready. That’s how I really like it. When an artist don’t come to me ready, that shit is agitating. It’s agitating. I like money but time is money. So, I got to choose my time wisely. But, I think I’m getting out of that realm. I think I got a lot to offer. If I really paid attention and zoom in and tune in to the artist a little bit more, I probably could bring something out of it. That’s one of the things I’m doing this year like be on some Christopher Columbus sh*t…discover a muthaf*cka.

Are there any artists, who you have not worked with, you would like to?
MB: Yes, it’s some muthaf*ckas I’m waiting on. They know I’m waiting on their asses.

Bels: Like who?
MB: I’m waiting on a couple of my partnas. We all doing different sh*t and ni**as got different grinds. We all over the muthaf*cking place. But, I’m waiting to have fun in the studio with a couple of my partnas. I’m waiting to see how this sh*t gone turn out. I ain’t go lie to you. It’s about 20-30 artists that I’m just ready to go in on. But 10 of them are some ni**as that I really know, before the world knew who they was. I’ll keep it like that because they know who they are.

MB: Should I say who they are? {laughs}

Bels: Say somebody I know! {laughs} Anybody that we might know…say Rick Ross, would you work with Rick Ross?
MB: Ross will tell you this. Ross used to come to a studio in College Park that a friend of mine owned before when I was a nobody trying to get on. And Rick… it’s a ni**a around here with some masters. You might think I’m lying. It’s a ni**a around here with some masters with Rick Ross on some vintage Midnight Black sh*t. We did that when he was Teflon Don. I think he was with Suave House and running around with Block. I had just got out of prison. This ni**a I know that was locked up with me was like, “Man, I got this f*cking ni**a man that’s coming in from Florida that rap and I need some beats and a studio”. He brought the cash and booked out the studio and we was out there working. Those were the good days at T&S Studios. A lot of people used to come over there. Shawty Redd, Young Dro, Doeshun, Pastor Troy, Bobby Valentino, Block, Diablos, Mr. Big Time, Buck Power, and it’s a lot more I’m not naming and I’m missing. But, they were there too. If I missed yall and yall hearing this interview, I apologize. {laughs}

     I got to learn to watch what I say because I’m from two different worlds. So, I have done a lot of music independently and majorly. So, I got a lot of friends in music. And I got a lot of friends not music that be like, “Do that shit”. I got friends that push me. I got friends that will really push me and get on me like, “Hell naw, that ain’t no Grammy shit”. Then, they’ll come in here next time and I play it and they be like, “Yeah, that’s that Grammy shit”. That’s the only thing I haven’t got yet. We have been robbed twice over a f*cking Grammy. They owed us a Grammy on the TM: 101. And they owed us a Grammy for that f*cking Recession. “Yeah, yall robbed us for our fucking grammy on the Recession. I said it. And the TM: 101!”

     Excuse me yall, its Christmas time. The TM:103 just came out Tuesday [the album dropped Dec. 20]. And Jeezy hit the city yesterday, and it’s 7 o’clock [PM]. I just woke up and I’m back on it. F*ck it, I’m going to Crucial tonight. {laughs}

MB: The business side…I’m just gone be honest with you. I had to learn. I had my experiences. I had to learn one thing. The number one thing…regardless of who you know and what you doing and how you got there, you have to remember that every day, every second, 24 hours 365, 366…the shit is muthaf*cking business, business, business, business, business. And if you don’t treat it like business, somebody else gone treat it like they business. Simple. Or you gone get handled out of your business. Because this game right here, it ain’t gone wait on you. It ain’t gone put no muthaf*cking pacify in your mouth. This game right here going to run your ass the f*ck over. If you ain’t ready for it. And it’s work, work, work… consistent work. It’s damn near like I’m working out on this muthaf*ckin keyboard like a NFL player trying to make the Super Bowl. That’s how I look at it. Every time I’m trying to make a project, I’m trying to make the Super Bowl. Because I know if I make the Super Bowl it’s going to be a celebration. Going to the bank is the celebration. Cashing that check is the celebration. And being able to provide for my family that’s the celebration. That’s what this sh*t is all about. In this business, you got to love what you do first. Don’t get sidetracked by the business. You got to learn how to balance this sh*t. If you don’t, it’s gone eat you. You got to learn how to balance or it’s gone whip your ass up.

For an upcoming producer, could you give them some advice on how to sell and get their music heard?
MB: Everybody is making it in different kind of ways. Only thing I can say is bang…hustle. This sh*t is a hustle. This sh*t is all about your hustle. You sit there and wait on this sh*t to come to you. This sh*t ain’t coming to you. You got to go out there and get everything you trying to get. That’s what I learned. It’s like you trapping. It’s like I’m treating this sh*t now. I’m back in the trap like I got a bomb in my drawers and I’m serving everybody. This year, 2012 is my favorite year. So I’m serving everybody, C.O.D. Come with you’re A-game ‘cause my beats gone crush you! I don’t give a f*ck who you is. I got some intimidating beats.

     Yeah, I get pushed to come with my A-game too now. Doing what I do ain’t easy. Don’t get it twisted I’m talking sh*t. But, I got to come with my best sh*t too. And I got to keep coming with my best sh*t. Just like I’m sitting here talking, it’s a muthaf*cka sitting here looking at the video right now saying, “Sh*t, ni**a I’m trying to eat too and I’m gone eat.” And he’s trying to push my ass out the way so he can eat. I ain’t trying to push his ass out the way. But damn, I ain’t gone let your ass push me out the way. So I got to stay focus on what I’m doing. If I don’t stay focused, somebody going to stay focused on my shit. Somebody’s always watching. Someone’s always listening.

Is it important to have an attorney or manager? What can they do for you?

MB: Managers are very important. But it all depends on the nature of the manager. Some people get managers before they need them and they f*ck them all the way up before they even get to…the letter A.

{pause: referencing the recent Soulja Boy lawsuit allegations…}

A manager should never get 50%. Anybody shouldn’t. If a manager getting 50% of your sh*t, shoot’em! Tell’em Midnight Black said shoot’em goddamit. Say, “Midnight Black told me to shoot you. You robbing me.” He is robbing you. If your manager getting 50% of your sh*t, you never gone eat. Shit, you’re a slave. {laughs}

     A manager is there to help. You’re the one that get the money. But the manager is the one to keep things in order for you and go out and get things done for you. He takes a lot of responsibility too. But that’s a little bit too much. I don’t know what kind of agreement they in. You never know what’s going on. But that’s a little bit too much. The manager might be paying for everything like housing, studio time. If a manager is paying for you to live or the manager giving you a salary, yeah I can see some sh*t going down like that. But you as a grown man taking care of yourself, you show up at the studio and put in your time and effort too…that’s a little bit too much. To each is own. This sh*t is business. Like I said, you got to be on your business.

Besides Young Jeezy’s TM103 album, what other production credit should we look out for in 2012?
MB: 2 Chainz! 2 Chainz, some Plies. I’m waiting on some Slim stuff. He hadn’t cut it yet but I’m waiting on him to cut some records. I got some stuff coming out on Wingo of Jagged Edge (he about to come out solo). A new guy, St. Nick signed to DeVyne Stephens label. And USDA shit. I’m getting ready for Freddie Gibbs and whatever my homies over there at CTE needs. A whole bunch of shit. I’m going to be all over the place this year. I’m not even gone front. I’m really waiting for January 2. It’s going to be like muthaf*ckas open up the gates at the Kentucky Derby. Muthaf*ckas in the stands got that bag. I’m chasing that rabbit!

     I feel like that muthaf*cka on that commercial. “Today, I’m not going to be who you expect me to be.” I’m going to be all over the f*cking place. Do what I love the do. Over the years, I’ve kind of pick and choosed who I wanted to work with and just focused on that. This year, I’m just gone let it go and just bang, bang, bang. I got a few people mad at me about sh*t like that. I like to concentrate. I’m a producer. So like when I’m working on a artist, I don’t just like to give 200%. I got to go in and give 300%, 400%, 1000% whatever it takes to get the job done. I’m the type of muthaf*cka that gone be in the studio. We in there working on a song and the song coming out good and this shit take 72 hours and nobody went home in 72 hours that’s what it take to get the song done. I’m one of them type of producers. I ain’t like, “Oh man I got to go home and do this.” I’m gone sit there and get the song done and get all this f*cking work done too until everybody pass the f*ck out. That’s the type of producer I am. I go hard or I go the f*ck home. It’s simple. When you working like this, sometime it takes time. When I’m working I try to get in with the artist and figure out what I can do to give him my very best. I can’t give artist my very best just handing his ass a CD. We never spent time in the studio together for me to really know exactly what he trying to do. I’m a producer and a musician. So I don’t want to just be there shaking the dice trying to go see no fucking artist. I want to go in and it’s the same thing. Even if I got to do it from far away, I got to get on my job and send my best sh*t too. So it’s kind of like the door swing both ways. But it’s the hustle.

As far as your own personal projects , do you have any mixtapes out?
MB: Midnight Massacre that’s me coming back as a rapper and bringing my new sound and what I represent to the table. Basically, what I was doing on Midnight Massacre was telling you a story, a real-life story, a “once upon a time” of Midnight Black. From the past, present, what I’ve been through, what I’m going through. Not disrespecting nobody like that, I kind of felt like I needed to tell a story. A “once upon a time” in the Westside, from Atlanta, Adamsville. I needed to tell a trap story and some street sh*t. And represent where we come from and how we actually done it in a sense. As far as like from the streets, that’s another side of Midnight Black that the world don’t know. So I was like having fun at the same time and telling this story and paint a picture and bring a message to the table. I got a lot of homies in the federal penitentiary so it’s like…and a lot of homies in the state penitentiary. So I get a lot of calls. Calls be like, “What the fuck going on out here. Man, I got the CD in here reading the cover. I see your name on this b*tch. I’m like, My Ni**a.” So that sh*t be like keep going, keep going. “When I get back out, you showing me. Because you got hit first, so that let me know when I get out whatever I choose to do I can do it too. I just got to believe I can do it.” Some calls be from ni**as giving me motivation. And I got to give them motivation in a slick kind of way because they ain’t going home. They got life sentences. They got 30-40 years. O.G. partnas that got 20 years and 30 years. Ni**as that’s gone actually die in f*cking jail. That’s my friends that done did sh*t. That got real stripes. That done did the sh*t that everybody talking about. A lot of these ni**as talking about it, but a lot of these ni**as weren’t even there. And I think that’s what draw the line sometimes on what artist I work with and some I don’t. I sit down and listen. If you ain’t really representing what you talking about, I can’t fuck with you. Because I represent the streets for real and it’s like disrespectful. I got ni**as dead from that sh*t. Doing time for that sh*t. Did time for that sh*t. Ain’t going home for that sh*t. Ni**as missing Christmas right now. Ni**as in a cell right now going fucking crazy. Going through some sh*t you wouldn’t even imagine beyond your wildest dreams. Some sh*t I wouldn’t wish on no body. It’s life and that’s what keeps me strong.

What do you hope to accomplish in music…say 5 years from now?
MB: In 5 years, I’m going to still be doing music. I ain’t even gone lie to you. In 5 years, I’m going to be all over the place. In 5 years, I’m going to be on that fucking television…watch. Midnight gone be on tv on yall ass in 5 years.

What are you going to be doing on tv?
MB: I don’t know what the f*ck I’m going to be doing on tv. But I am going to ne be doing something. If I ain’t talking sh*t, I’m gonna be making hits. I’m going to be on that Quincy Jones sh*t doing Sanford & Son theme songs and sh*t. Quincy Jones is my musical inspiration. The stuff he does is timeless. That’s what hits are about timelessness. Just think about it, if you go play a Michael Jackson CD that “Off The Wall” sh*t that “Thriller” sh*t. You play that sh*t it’s like they made that sh*t like it’s supposed to come out today. But you think about it like, “What year is it?” Just imagine the kids that were into music that came along that was doing the sh*t Jeezy doing what Michael Jackson was doing. The “Off The Wall” album was the first platinum album that did a whole bunch of numbers and platinum albums like that. Now you got rap artists doing 10 million and stuff like that. Just imagine something like that. You turn that record on today and be like “Wow, that just came out yesterday.”

What is some advice you’d give to the young producers that aspires to get into the business?
MB: You got to have a plan, A to Z. You got to be dedicated to yourself and be loyal to yourself. You got to put the time in if you really want to do it. You got to be humble. You got to listen and know when to speak not to speak. You got to learn that the ego sh*t ain’t gone get you nowhere. It’s work. You got to choose your time wisely. It’s a lot of ingredients to the game. To sum it all up, it’s what you put in it. It’s really what you put in it. You send that bullsh*t, the sh*t gone come out sounding like bullsh*t. If you going hard, you gone hit. So keep going hard. So keep banging. If you sit on your ass, it ain’t coming to you. Never coming to you. You just gone be like, “Sh*t, I can do this sh*t.” In 5 years, you gone say “Man, I could’ve did this sh*t.” You got to have a plan A to Z. Go hard or go home.

There’s a whole bunch of producers and songwriters, I love they sh*t too. I’m a big fan of music too. I consider myself a soldier in music army. And you know how the army is, every soldier ain’t the same. You got humble soldiers. You got crazy soldiers. You got aggressive soldiers. I’m just a soldier in an army of ni**as making music. I’m trying to be the best and get to General status. Being in the army, that sh*t take hard work and discipline.

     Check out more of Midnight Black on Facebook/MidnightBlackBlack, Twitter@MidnightBlack12, LinkedIn/MidnightBlack, Myspace/MidnightBlack…new website coming 2012 www.midnightblackmusic.com.

Video interviews:

Click on the links below to see Parts 3 & 4:

Midnight Black talks new producers and 2012 work with 2 Chainz, Plies, and more…Part 3
Midnight Black talks Midnight Massacre mixtape, 5 year plan, and begin a hustler in this game…Part 4

New Vid: “Bang Bang” feat. Black Mike, Flam-BZ, Dropman & Sons of Bobby Brown

Our boy Flam-BZ dropped this “straight gangsta” video to the new track “Bang Bang”. The track  features verses from his comrades Black  Mike, Dropman, and the Sons of Bobby Brown (which includes Jason Weaver from the movie “ATL”).

Check it out:

Rapper Mystikal Signs w/Cash Money Records + New Single “Original”

YALL MF’s AIN’T READY!!! New Orleans rapper Mystikal is now signed to Cash Money Records. After merging back into society after serving prison time, the former No Limit soldier is now adjusted and ready to work.

“It has been a truly long time since I have felt like a rapper and with this signing, and partnership, Birdman and Slim have given me my life as a rapper back,” says Mystikal. “I am ready to go. I am going to put my red Superman drawers, cape and boots on and go! This is a huge moment for me and I am truly excited to be with Cash Money Records”.

 

To commemorate this joyful moment, Mystikal premiered a new single on NY’s Funk Master Flex radio show. “Original” which features Birdman and Lil Wayne, is definitely some heat. The mid-tempo production is perfect for Mystikal’s “ride out” type flow that has uniquely carved out his spot in the rap game.  Check out the track below:

 

 

Source: MissInfo.tv

Mary J. Blige Concert Review + “Conversations with MJB” Meet & Greet Update

     This past Friday night I had the fortunate opportunity to attend Mary J. Blige’s My Life tour stop at the Tabernable in the ATL and let me just say my experience was surreal. Being the Mary fan that I am, it was nothing like catching her in her element live. Needless to say, she hit the stage jamming, opening the show with ‘Mary Jane (All Night Long)’. She continued wooing the crowd and kept us on a high while performing other hits from her first “My Life” album such as ‘Be Happy’, ‘You Gotta Believe’, ‘I Never Wanna Live Without You’ and ‘Be With You’,
After taking a quick break, the Queen of Hip Hop & Soul came back and continued the journey on to My Life II, singing her first two hit singles from the album, ‘25/8’, followed by “Mr Wrong”. The journey ended with Mary, her back-up dancers, and all who were in attendance jamming to ‘Family Affair’ from her “No More Drama” album. Overall the night was a blast and Mary gets an A+ in my book. As for highlights of the show, here’s the good, the better and the best parts.

The Good

     The show was scheduled to start at 8 pm and a little after it did. Right at 8pm someone came on the loud speaker announcing that Mary would hit the stage in 10 minutes. Five minutes later I ran across her tweet “Showtime ATL”. Fourteen minutes into the hour the crowd began to chant “Mary, Mary, Mary” and as if to answer our call, she appeared in the spotlight at 8:15 getting her groove on as her fans then chanted “Go Mary, Go Mary, Go Mary”.

 

The Better

     After taking a moment to briefly speak about her struggles and what a blessing it’s been to give another young lady the same opportunity she’s been afforded, Mary brought out her recently signed artist, 13-year-old Katlyn Nichol, to join her in singing ‘I’m Going Down’. Shortly after the song started with Mary singing the first few lines, she turned it over to Katlyn who after belting out the next few lines, got her props and a bow from Mary and was left to take the stage by herself. To our delightful surprise and just as Mary had warned us…she blew us away. Her charisma and performance power was amazing. It was almost as if Mary never left the stage. (Vid Below)

The Best

     Being that this was her My Life concert, it goes without saying that she would perform one of her biggest hits to this day which shares the same name as the album. However her fans including myself unknowingly had a different plan. From the moment the first note drop, the crowd went wild. Mary managed to belt out the oohs, aahhs, and la-la la las, during the song’s opening chorus which the crowd softly sung. But from there the song was ours! From the first word of the first verse, the crowd raised their voices, put their all into it and without missing a beat, sung every single word leaving Mary no choice but to remove the mic from its stand and turn it toward the crowd. She did manage to get in a line or two during the following chorus but verse 2 was no different…we owned that one too. It was as if we all individually as well as collectively for that moment became Mary!

Mary J. Blige feat. Katlyn Nichol “I’m Going Down” @ The Tabernacle

*************************

     The following day, Bels got the chance to attend the event A Conversation with Mary J. Blige which was held at the W Hotel (Midtown) and sponsored by V-103 and State Farm. During the interview session, which was conducted by V-103’s Frank Ski, Mary discussed several songs off her new album ‘My Life II: The Journey Continues (Act I)’… and took questions from the audience. She also spoke about doing music for her fans, the importance of loving yourself first and her favorite southern food being fried chicken livers. Aside from the music, Mary also let it be known that she’s expanding her brand to the film industry and is currently working on some scripts and taking more acting classes with plans to release some projects in 2012.

     While it wasn’t open to everyone, a pre-selected group of people did get the chance to actually meet and greet Mary. Check out part of Mary’s interview below.

If you haven’t already, please go purchase a copy of Mary’s new album ‘My Life II’. It will be well worth the dollars.

T-Pain Preps New Album “REVOLVER” + Track Listing

It’s been a minute since we’ve heard T-Pain grace the airwaves. The multi-platinum producer/artist who just a few years ago was the number one go-to guy for a “hit”, is plotting a big return with his new album, rEVOLVEr. The new album which features Lil Wayne, Chris Brown, Wiz Khalifa, Pitbull, and Ne-Yo, hopefully will give listeners more classic T-Pain ish.

     Here’s the track listing…

1. Bang Bang Pow Pow – feat. Lil Wayne

2. Bottlez – feat. Detail

3. It’s Not You (It’s Me) T-Pain vs. Chuckie – feat. Pitbull

4. Default Picture

5. 5 O’clock – feat. Lily Allen & Wiz Khalifa

6. Sho-Time (Pleasure Thang)

7. Rock Bottom

8. Look At Her Go – feat. Chris Brown

9. Mix’d Girl

10. I Don’t Give A F*ck

11. Drowning Again – feat. One Chance

12. When I Come Home

13. Best Love Song – feat. Chris Brown

14. Turn All The Lights On – feat. Ne-Yo

     T-Pain’s fourth studio album is scheduled to be released on December 6.

Mixtape Review: 2 Chainz – T.R.U. REALigion

     2 Chainz (Tity Boi or Teta Chico) has been on a tear as of late. For anyone that has been paying attention, he has been garnering a lot of attention. Being such a polarizing figure, many celebrated while others sighed and grunted in disgust. Plenty of people send him praise for his tangible lyrics and accessible style. Others, however, think of him to be a 3^rd tier rhymer that has over-extended his stay in the game. Regardless of how anyone feels, T.R.U. Realigion is out for mass consumption.

     To be frank about 2 Chainz, he isn’t going to win many hip hop enthusiasts/purists over. He isn’t going to be using a bunch of flows and cadences no one cares about. Nor is he going to try and construct choruses aligned with poet laureates. Hip hop quotables isn’t even on 2 Chainz’s mind. In the end, the man has little care for being looked at as a “savior of hip hop”.

     2 Chainz is here to make typical street music in a grand and notable fashion. If that is his goal, he is effective to say the least; hilariously remarkable to say the most.

     Throughout the mixtape, Teta Chico gives you nothing short of relished street lore. ”Addicted To Rubberbands” rides thumping bass, synths and piano keys that allows Chainz to spit his version of comeuppance/luxury rap. “Stunt” catches Chainz, with Meek Mill in tow, going in about showing off what they got. Hysterically, on “Viagra” Chainz keeps it moving with references to his Polo addiction, Jodeci and Floetry. Even if street music isn’t the choice of champions, 2 Chainz still entertains.

     Do not be fooled, though; 2 Chainz does take the time to get introspective and/or tell a story. “Letter to the Rap Game” uses a M-16 produced sample molester to give hip hop an open view of his approach and mentality. It does help that he is assisted by Dolla Boy and Raekwon to round out this song. “Kesha” is the common hood love song done the 2Chainz way: big song, big sample, simple and catchy lyrics. Even through the grimey hood songs come certain aspects that allow people to see some sort of “vulnerability”.

     2 Chainz feels he went from “the hottest artist in the streets without a Gangsta Grillz” to “the hottest artist in the streets”. With this mixtape, he gets to flex his muscle. For the most part, it stays consistent and entertaining. This won’t be world changing material. However, if you are looking for some street music to nourish your faith in the conviction of the streets, then this is the mixtape for you. Conclusively, keeping it real for the hood is the T.R.U. Realigion for 2 Chainz.

Article written by Mark A. Harris, contributing writer for STACKS Magazine