First of all: I just became an official contributor of www.cratekings.com and put my first interview on the page. Two weeks ago I met superproducer Black Milk for a little talkdown...

During the last years, producer Black Milk representin’ Detroit turned out to be an insider due to his unique production style and sound. While other producers focused on synthesizer sounds and recycling of used-a-hundred-times-before loops, Black Milk was still getting his fingers dusty while diggin in the crates, always looking for some gems to chop up. Together with Guitly Simpson and Sean Price, BM was in Cologne, Germany, to heat up the crowd for the upcoming Pharoahe Monch gig. He took some time before the performance to answer some questions about his person, his new album and his productions...(read on)

Labels: Maze talks to...

11 years ago a New York based MC with that confusing name Kukoo Da Baga Bonez released his first 12". Well, hundreds of acts did that back in the days. But there're two major differences between Kukoo and the rest: "Da Real Kukoo" didn't get lost between the freak tide of releases back then, it became a nowadays sought after indie-classic. And while other mc's lost their interest in music during the years Kukoo kept working in the booth and perfecting his skills. Now he's back with his debut album called "Da GRUSTLER" and proves -alongside his doggedness- an unexpected miscellaneousness as an artist. Time for an talk-down!

For those who don’t know you, what’s important to know about Kukoo?
That quality music is very important to me as well as progress and growth as an artist and individual.

You’re originally from New York, but now dwelling in Austria – how come?
I'm Originally from NY but doing my thang all over the globe because I feel the world needs to know who I am artist and person wise. I'm trying to bridge the gap between the different cultures. It should be no boundaries when it comes to communicating and working together.

Knowing each continent, is there any difference between the heads in Europe and the States?
Well, I see in the different European countries it’s definitely more chill and there are a lot of very talented and dedicated producers with a deep appreciation for quality music. and in the States the range of Talent is there also, but I think in America the artists/producers are more competitve because they are more in numbers and the market is bigger.

Cause of that I guess Europe isn’t that much into all that mixtape ish.
Since I’ve been out here I haven’t noticed any mixtape albums. I just get a lot of people reminiscing about the 90’s era, which is cool, but I think it’s important that we move on. I think Europe can't because there hasn’t been any quality product out in a while.

Which is a good point to start talking about your own work. Most people might remember your name due to your 96 release “Real Kukoo” 12”. You’ve just released your debut album “Da Grustler” – what can people expect from it?
Well, in ’96 I was in a different place and time as an artist. I was just beginning to see what capabilities I have as an artist. When we put “Real Kukoo” out we never expected it to do so well regarding popularity...I wasn’t ready.
I feel “Da Grustler” is a more focus and mature Kukoo Da Baga Bonez who has expanded on his talent and become sure of his skills and knows what direction he's heading to. Back then I was considered underground and the reason why artist were labeled underground was of the simple fact that we didn’t have major deals. That was considered underground but “Real Kukoo” was getting me mainstream attention, I knew I had the potential to go big but I didn’t have the necessary experience personally or around me. On this album it shows that I’m ready for whatever comes my way.
The album is a combination of different flavours from different people who come from different parts of the world but have the same objective: Get some hot product for the fans and consumers because they deserve it. I don’t ever want to cheat the people that support me or my music. On “Da Grustler” I let the beats talk to me – I listened
to the tracks and let them give me an idea of where to go with them. I truly believe it came together very well eventhough it was different producers from different parts of the world. The formula stayed the same: all of them had hot beats for me to chef. I don’t believe in the division of HipHop underground and mainstream. I think it’s just good and bad music.

But I think ‘good’ and ‘bad’ relates to a personal taste. For people who remember and will be connecting your name with “Real Kukoo” and that particular sound will be very surprised hearing your new tracks cause it’s a whole different style. Except “Who’s da hungriest” it’s all about synthi and – let’s say more danceable, modern music.
You’re right about personal taste because something I think sucks might be good to the next, so I guess everything is about how the person feels in regards to music “Da Grustler” is more caught up with the time I think. It still has that edgy Kukoo Da Baga Bonez original flavour but it has the appeal to stretch all over the world.

I feel “Real Kukoo” was a danceable track – it wasn’t totally underground, it also had a mainstream sound and was and still is a good record because it is quality sound. “Da Grustler” is seriously diverse in flows, beats and topics. I'm all about lyrics, like for instants “Come with lyrics” and “Story off wax” on "Da GRUSTLER" album is strictly about telling people it is important to have lyrical content. But it’s also important to have fun and be able to dance to music and feel the groove. And I wanted people to feel like that while listening to this album, I make music for the world, not just a certain genre or neighborhood. I think it’s important to unite people through sound. So far the feedback from the album has been overwhelmingly positive from all kinds of people, so I know what I’m doing is good for the culture and movement of quality product.

On “Who’s Da Hungriest” you say: “This ain’t the old or new school – this is an mc doing what he’s supposed to”. Do you think people are too focused on splitting music into old and new instead of listening to what people are actually saying in their music?
Yes, totally. If I say I’m oldschool I already limited myself as a person and an artist, same if I said I’m newschool. I feel I am an MC and there is no limits to where I go and grow as an artist. With anything division causes destruction. I still jam to the anthology of Al Green because it’s good music period.
I think HipHop artists focus too much about image instead of making what they feel in their hearts – fans and customers want to feel you through your sound.

About three weeks ago I was chillin’ with George DuBose and he proudly presented your album to me, not knowing that you already sent me a copy way back, and stated it as his best cover ever. How did you get in contact with George and how does it feel to get your cover done by such a legendary photograph?
That’s an interesting story. I went to Berlin to see a friend of mine at this event and this guy walks up to me and starts talking. I wanted something to eat and he was giving me directions. And then he showed me his card and I flipped out completely to know who this guy was. I grew up on his work, he’s the main reason I started doing music. His covers are certified classics! I’m very honored and privileged to know and work with George DuBose. This is my first album from a long career and to have Mr. DuBose do the album photos and designs is a blessing indeed. I got mad love for George and what he’s done and accomplished and he is still very passionate about his work. I dig that about him because I am also.
And for him to say my album cover is the best he has ever done is without a doubt one of my greatest achievements to date because he has photographed numerous classic covers from a real good era in HipHop, and he is still very active photography wise. I am very happy about it and the fact that he loves my music as well is a definite plus.

For sure! The last time we talked you stated yourself as “one of the last real New Yorkers”. Do you think New York HipHop has changed in a bad way?
Let me elaborate on that statement "last real New Yorkers" because NY is huge and there are many independent hungry M.C.'s in the game. I'm definitely apart of the elite MC's from back when, because I never hit my full potential and I'm still on my grind getting better with time. New York used to be about originality and lyrics. The artists are mostly following the trends now and not doing the music like artists from New York used to. People say the 90's was the best Era but I feel like the 80's up until the mid 90's was the best because the 80's was independent, passionate, original, creative and the records still went mainstream and the artist were just being who they were up until the mid 90's from then on Everyone started trying to sell themselves before the music as it began to become more commercial then even more capital came into play.

But you even said that people need to move on – do you think “Da Grustler” has that famous NY sound?
Yes! Because it’s not image driven at all. It’s straight lyrical and it has that feel from the days with an up to date twist, Da Grustler is who I am, my life is on the go and constant growth. I still got NY in my heart but I'm not limiting where I can go if I realize my full capabilities as a person and artist, I basically incorporated without compromising myself and my sound. I think the main reason that artists do not develop is the fact that
they have something to prove to the public. It was never about image and controversy,
I remember back when HipHop was HipHop. You had some of the most notorious gangsters around, more fierce than today, but it was never reflected in the music.

But it’s actually difficult: Most mid 90’s artist get disrespected for their new releases from the old heads because they think it’s a sellout move.
I mean opinions are like assholes – everyone has one. When I make music I never care who says what - I just do what I feel inside.
Not everyone is going to like what you do all the time, we cannot please the world.
you cannot stop your creative growth because some guys are like “hey, he’s selling out”. I feel too many artists are selling themselves and not the music. That’s why I set up Stand Or Fall Entertainment to reflect my feelings about where the HipHop scene was going and music in general either stand for something or fall for anything.

I’m standing but I leave fall there to remind myself that it’s not an option. And I also use fall to describe people who come up short when dealing with me or anybody in general who don't recognize and try to doubt.

There are only two options either STAND OR FALL, but don't waste my time. I used to sit in offices with A&R’s and meet all these industry people and they would tell me “Your good but I don’t think this label is right for you”, I even heard “you need to change your name because it’s not street enough” or “he’s not allowing people to know who he is”. All these are excuses because my music is music and not gimmick driven, they don’t know how to market it. They don't understand all you have to do is get that quality to the people,
The industry forgot about the fans and don't care about what they like and want to hear. But there are some professional business people that still stay true and recognize talent and I'm fortunate to be dealing with them. The rap game is like a soap opera: There’s so much hype about all these newly signed mainstream artists in New York but all of them failed to stack up. Not because they weren’t good, It’s too limited regarding the type of product that is being produced and they can't shine over the major artists that signed them. People are tired of hearing and seeing the same Ol same Ol. It's time for a change and Kukoo da baga bonez, Stand Or Fall Ent and Da GRUSTLER is bringing it.

So you’re not down with the typical New York artists?
I am from New York born and raised. I’m down with whoever wants to work on some sounds and do this for the movement and the cause. When I was in New York I was around all the groups from the 90’s. I asked to work with MC's that I felt was good and even got asked to work with some of them, but all of them failed to follow through and a lot of them dudes from the 90’s are fans of mine and expressed to me that they respect my flow and liked my music. But they never wanted to work because the rap game is very ego driven.
I always wanted to work with cats but dudes was frontin, making excuses when the time came to produce. It’s crazy when I think about it, I had to bounce from New York and the States for a hot minute and really get creative and do my own thing and make my own way.

C’mon, state names!
I mean ... I don’t want it to be an interview on that level, I’m just making a point. I’m glad that I never did work with cats though. I stayed in the cut for all these years perfecting my talent and now I’m at a point where it is time to let people know New York HipHop ain’t dead at all. The machine tried to block out the talent with political hustles.
Do you know how many talented artists there are in New York? It’s massive! but you only see the same five guys with all the fame and doe and the reason why HipHop is suffering is because they’re not allowing talent to enter! Big artist’s record-sales are suffering and they act like they don’t know why. It’s because people are tired of hearing you! Even though people love steak you can’t keep feeding it to them everyday because after a while you get sick. So instead of putting out new talent and sound they get one big artist and pair him up with another. I always got respect for my flow and music so it wasn’t a question of could I make it or not because my first 12” became a classic and it was commercially blowing up in New York. I could have done it but I’m glad I didn’t because I really wasn’t ready and who knows where I would be right now. I’m here for longevity and the movement of quality sound. So far the feedback from the album that I’m receiving is showing that I have another classic on my hands but this time the world will fully know. I signed a major TV-network licensing deal with"Fuel TV".They licensed 7 songs from Da GRUSTLER album. I'm also corresponding with video game companies as well as in talks of being a representative for this company that composes for TV, commercials and movies.
I’m not limiting myself to just being an MC. I’m a business man also, driven to secure that fans and consumers get the quality sound they deserve. They should get their monies worth.

There are some international producers on your album credits – where did you record the album?
The NY Tracks where recorded with a Queens producer by the name of Shakim who now goes by "Shakim Allah". Then I worked with Streetz from Chicago but we recorded in NY also, Final Cut, Toys R Fuct are from Austria and Lil Stone is from Switzerland. Ah yeah, can't forget that I got cuts from DJ Takonedoe doing his thing out of Austria! As you can see, it’s a global project – different flavor but all the same love. Photos and artwork by the legendary George DuBose makes for a classic album. No one is doing it like that no more – just collaborating with good artists. It’s all about who got the biggest name. Right now my album was done by people that are just talented, I guarantee this album will go down as one of the top HipHop albums.

So you think “Da Grustler” will become a classic?
Yes! It has all the elements of a classic album. A friend of mine who is a Hollywood screen writer said that the album was fantastic. But the thing that moved me the most was when he said that his 4-year old son was grooving to my sound and now says “Grustler” – it can’t get no more classic than that!

Anything you wanna say before you go?
All I want to say is that HipHop has been stagnate because of the artists that are now established. They’re the ones that keep putting these records out and causing controversy to sell records. I think all of this is totally played out and boring. I tell you one thing: I watched and let all these cats beef while I went in the lab and focused on straight flows and formulas. And while they were beefing I came with a classic album.
I just want to leave it on this note: music is for the world, not just for a section of a block, neighbourhood or the ghetto, streets and suburbs. Music is made for the ears to hear - everywhere!

True! Thanks for taking time out to build bro!
Thanks for the interest and allowing me to voice my thoughts with you by giving me an avenue for people to know that there are true artists out here – and no doubt, much respect to Maze – we will definitely work together in the future!


I wanna say thanks to Kukoo for the talk down. As a little DiggersSpot special you can now check out my personal favorite of "Da GRUSTLER" called "Who's Da Hungriest".

Labels: articles for hhv.de, Maze talks to...

You’re now about to release your first LP, “Renaissance Music”, what do you expect from it?
In terms of personal accomplishments I've already attained what I expect from it but I would like this album to serve as the introduction to the rest of my career and familiarize people with the type of lyricism and music I bring to the table.

The first thing that made me wonder was your impressing featurelist; Kool G Rap, AG, Party Arty, Ras Kass, Buckwild, Adam Sampler on the beats – just to name a few -. These are huge names for a debut album. How did you get in contact with those peeps?
When I first started working on this album I was signed to a label in the U.S. which then led me to meet with a producer named Domingo who did Dream Shatterer for Big Pun and The MC for KRS One among many others. After the deal didn't work out for me, I hooked up with Domingo who took me under his wing as a protege and hopped on as executive producer of the album.
Then Domingo felt we should showcase my talents by pairing me up with some of the greatest emcees and producers of all time and really make the project something exceptional. Working with these artists allowed me to learn a lot from the legends and point me in the right direction of what to do and it was a blessing to be able to work with them one on one.

Don’t you think some heads may misunderstand such a featurelist on a debut album, especially relating to it’s subtitle“the introduction”, as a sign for a missing abilty of your own skills to introduce yourself to the public?
I don’t think there will be any misconceptions when people hear the actual record. Anybody can do records with famous rappers but at the end of the day the music will speak for itself when it comes to holding it down with legends. What I bring to the table is something unique and more than 75% of the album is solo material where you really get a sense of knowing who I am as a person and as an MC.

I don't think it would be wise for any untalented MCs to collaborate with cats known for being savage lyricists so obviously if I'm doing it its because I feel that I am up there with the best and that will eventually be recognized as such.

What made me kinda happy was that your record don’t actually sounds like a 2007 release, it got that nice mid 90’s NYC flavor – is that your personal taste of music?
Yeah man the type of music I grew up listening to is in majority no longer being made so I try to reintroduce these values to the younger generations of hiphop fans who don’t know about Kool G Rap, Rakim or other legends that paved the foundation for what cats are doing today. My album is renaissance music: the introduction because it is a renaissance of that golden era sound and it reintroduces that sound to the new generation. I tried to make an album that would pay homage to HipHop's golden age and at the same time add another chapter to that rich legacy of lyricism and bangin beats.

A plan which is very dignified but quite brave relating to sales figures...
Sales figures are down the toilet for HipHop in general but as much as sales are important to me it’s even more important for me to look back on my project with pride knowing that I delivered something rare and authentic in a period of complete saturation and disrespect for the culture of HipHop whether I sell 5 or 5 million records. I think the album fulfilled what I wanted to do in terms of celebrating HipHop-culture and it just so happens that some of the best of all time are along for the ride.

Aside the features you actually got on your album, who’d be your utimate dream-feature?
I'd love to collaborate with Nas and Rakim either individually or both on the same song. Also Big Daddy Kane, Canibus, Last Emperor, Royce 5'9, Pharoahe Monch and Jay-Z cause you know that shit's gonna get some radio play (laughs). I want my next album to be produced by DJ Premier, Buckwild, Showbiz, Diamond D, Lord Finesse, Just Blaze and Dr Dre - we'll see how close I get!

While talking about Jay-Z and Nas; did you hear the rumors about a recorded feature-album of Hova and Nas existing?
To be honest with you I really think that's just a rumor. Throughout the years HipHop has seen many fantastic album rumors that never came to fruition like Dr Dre and Ice Cube's "Helter Skelter" project, the Nas and DJ Premier album, and even Detox! I would love to hear a project with Nas and Hova but I doubt that's going to happen.

I just have to hear your choice: Who would you give the crown to; Nas or Jigga?
No question the better emcee is Nas because lyrically Jay cannot hold a candle to Nas any day of the week. However record sales, fame, and glossy flosssy singles will make the masses believe Jay is the best but lets not forget Jay idolized Nas from day one!

What’s the story behind “biters block” ? I think that song is interessting...
The concept behind Biters Block is pretty simple: I'm just calling out artists who I feel are enjoying success strictly from duplicating and imitating other rappers. I felt I had to say something because I found it incredible that no one else ever said something about that. People looked at Biters Block like "oh rugged's just dissing artists to get on" but if you listen closely I only diss rappers that are biters. You listen to Fabolous and Lloyd Banks and tell me their whole style ain’t based off Mase. And that’s just one little example. I don't do diss records or nothing like that but i said if I'm going to do one let me do something with real value to actually prove a point, especially to the younger generation: Be original!

Mentioning the younger generation, what do you think about the development HipHop is going through at the moment? I mean, kids don’t even know G Rap, Buckwild or what a sample is nowadays.
I think the corporate outlets that are pushing HipHop are doing an excellent job in brainwashing today's youth into forgetting the origins of HipHop-culture. However I find this is the case mostly in North America where media propaganda rules with an iron fist and anything not pushed by the BETs or MTVs are considered obsolete and outdated. However, it is refreshing to see that in other parts of the world like Europe for example, people are much more appreciative of HipHop-culture and its origins and for that reason I got nothing but love for Europe because the respect for the culture is there and I don't think it will ever go away. I think America has taken its culture for granted but not by the choice of people making HipHop but by the corporations who refuse to give any light to the foundations of HipHop.

Beside that love you got for Europe due to its love for the HipHop-culture, you got another quite interessting connection to it; the last time we talked you told me that you’re half german...
Yeah man that is absolutely true. My father is German, he is from a town called Meinerzhagen and I lived in Germany briefly when I was very young. I am extremely looking forward to go back to Germany and connect with the heads over there because they show me nothing but love all the time and its definitely something I want to reciprocate. So if there any booking agents reading this: Lets get some shows poppin!!!

I remember you also stated Jazz and Funk records when we were talking about diggin, which is a sign for a wide ranged taste of music to me. Did your parents influence you relating to your love for music?
Definitely, from a very young age music was always around me, all different styles from rock to soul and funk to reggae and many more. I always loved music and knew I wanted to be a part of it someway even as a child and growing up in a multi-culturally diverse neighborhood I was exposed to HipHop all throughout my childhood and adolescence even before I realized what it was. It is crazy to see that years later I was able to add my own little contribution to HipHop-culture especially coming from Montreal Canada where HipHop is not really treated with the respect it deserves.

Do you remember how you got in contact with HipHop? I mean, HipHop in Canada wasn’t that big as it was in the states back in the days.
You would be surprised that HipHop has been around in Canada since at least the early '80s as you may or may not recall such artists as Maestro Fresh Wes and his hit "Let Your Backbone Slide" which is one of the earliest HipHop records I remember hearing. Maestro actually had Showbiz produce records for him back in the day but people rarely refer to him as one of the pioneers for HipHop in Canada. Back to your question, there was this park next to where I lived as a child and they had HipHop concerts with b-boys and MCs and I didnt even realize what it was then but I always was fascinated by what they were doing. I grew up in a largely West Indian neighborhood so I was exposed to a lot of HipHop early on based on my surroundings.

And did you immediately start as an MC or did you take that usual route from writing to breaking, from breaking to spinning and from there to the mic?
From a young age I was always inclined towards writing poetry so becoming an MC was a natural progression especially listening to such artists as Rakim and Wu-Tang it made me want to rap and do the same because these were people I looked up to among many others. I was always a chubby dude so b-boying wasnt really something I persued because when it comes to break dancing I’d probably break floor before doing any actual dance moves (laughs) as far as writing I always scribbled in my notebook and I used to tag SACE which stood for Sonically Advanced Criminal Entrepreneur (laughs).

Haha, same with me – even if the mind wants to, the body wouldn’t be able to!
Exactly! (laughs) - I don't think I've met too many corpulent or chubby break dancers in my lifetime but im not saying they don’t exist!!

Yeah, chubby dudes rule! Ask the ladies; More to love, kna mean?
More cushion for the pushin!

Now, being happy to see your album being released, what can we expect from you next? Any new projects planned? You definitely need to get some unreleased Big Pun Verse and put it on your track – you dudes would sound nice together!
Definitely working on some new projects, I'm already recording songs for my next album which I might call “Mama Ain't Raised No Fool” but we'll see if I end up keeping that title...No matter what its called the second album will be a continuation of the first one and hopefully I'll get to work with some of the producers I mentioned earlier, definitely Buckwild and Showbiz. As far as Big Pun, a song with both of us would definitely have been classic and I know Domingo would have laced a sick beat for that but unfortunately he had to pass on (R.I.P.). We might do something an unreleased verse for a freestyle joint but I don't think Fat Joe would be too happy having a Pun verse on anyone's album but his own, especially since he owns a portion of Pun's publishing.

True... But Show and Buckwild are already definite relating to production?
Well I'm not gonna say for sure 100 percent but as soon as the cards are in place there is no reason that can't happen. I have tremendous respect for both of them and we've had conversations of doing more work in the future. But yeah, it’s going to be gigantic!

I guess so…well, I hope so. Showbiz’ latest production I heard, which was “Business As Usual” with Premo on the cuts, didn’t meet my expectations at all.
Respectfully I won't get into details but I know for a fact Business As Usual is a warm-up joint from the latest Showbiz & AG project slated to hit stores in the fall 2007. I have personally heard selections from the project and I can guarantee it has CLASSIC written all over it. Showbiz is still ahead of his time with the production and HipHop fans worldwide will be able to appreciate that even more when the project drops. And for those that don’t know: AG is killing shit right now, the new material is incredible!

No disrespect at all, you know I got mad love for Showbiz, but I was kinda disappointed cause I know he can do it way better.
Lets put it this way, if every Showbiz & AG joint sounded like Soul Clap then people would say they still sound the same. Unfortunately HipHop is at a different place right now and it’s a blessing to see pioneers like Show & AG still doing what they do.

A little game for the end: Short questions – short answers:
Pete Rock or Premo? Premo
Runaway Slaves or Breaking Atoms? Oh man... Runaway Slaves!
Dipset?! Trash!
This interview? Extra dope!
Your last words?
Much respect to all the heads in Germany and all across Europe, keep holding it down! Make sure you check out my album Renaissance Music: The Introduction on July 24th and extra shout-outs to Adam Sampler, Domingo, Ras Kass,Showbiz & AG, Kool G Rap, Heltah Skeltah, all my people in Montreal and my dude Maze at hhv.de!Oh yeahhh and check me out on www.myspace.com/ruggedintellect for collabs, interviews or whatever else you need from your friendly neighborhood german rapper!

Thanks for taking your time bro!
Anytime!

Labels: articles for hhv.de, Maze talks to...

Pudgee's testpress-only Release "Think Big", which features Notorious BIG and Lord Tariq, went thru a huge hype due to a feature on a well known diggin-releated website a few months ago. Minnesota on the boards, a young, hungry and nearly unknown Biggie plus a failed release due to sample clearance problems? Now that's sumthing to talk about...

First of all, please introduce yourself for those who might never heard of you, who you are, where you come from and what ur reppin’.
Pudgee Tha Phat Bastard From the Bronx, born in harlem - moved to the bronx shortly thereafter but I definitely rep the whole New York

A few weeks ago, a well-known digging related website reviewed your 12” “think big”, which features notorious big as well as lord tariq. As far as I remember, this had to be recorded short after “party and bullshit” came out, so Biggie wasn’t that big - how did you get in contact with him and finally get him on that track?
I knew Biggie for quite some time becasue we were both up and coming lyricists on the grind. A friend of mine, 9Hawk - who used to road manage Big Daddy Kane - put me on to him. We used to speak all the time and I had been Tupac's friend since he danced for Digital Underground so the song was bound to happen – I called him and I told him I wanted him on the song. He said he would come to the studio and I still paid him cause I had a deal. The only song he had out at the time was party and bullshit.

So you had contact to Biggie and Pac...how did you see their contact? were they cool down or how did you see these rumors about the east/west conflict?
There are many truths that have not been revealed and T don't want to be the person who does that, but I will say that I knew Pac before I knew biggie - through my homeboy Stretch from the group Live Squad (he was murdered)… lets say I chose my side; Pac was my brother, Biggie and I were rappers that were cool - Lil Cease and i are still cool.

OK, I understand. Another dude I wanna talk about is Minnesota, who produced “think big”.
In my opinion he’s one of the most underrated producers out there (some heads may recognize due to his productions on the hard to find “ghetto chronicle daily” ep by the Money Boss Players on section 8 records). Did you know or even honor some of Minnesota’s work before or why did you take his beat?
Minnesota and I were signed to the same production company. I had recorded several of his tracks en route to accomlishing a finished album project. He came to the table with the track which was originally for his group.....he said if I wanted it I could have it in exchange for Lord Tariq being on the song.
He is the reason Tariq is on the song… we still communicate - we actually just went to pick up a check together for Christina Aguilera sampling the song on her latest album.

[Biggie’s “I grand you three wishes ‘cause I be the gini” has been sampled on Christina Aguilera’s “Thank You: Dedication to fans”, which was produced by Dj Premier. His answer is followed by a few minutes of small talk about premo, records and his royalties for CA sampling his song, which he just comments as “nice”.]

What kinda job you’re doing? Can you live from doing music?
I live off of royalties, I own properties and I have been writing for other people…

[Examples for his ghostwriter-work are: a song called “say aah” with Pudgee and Shawnna from DTP on in the first Fast and Furious movie 5 songs for Left Eye on her Supernova album Left eye's verse on the TLC song"Over Me" produced by Rodney Jerkins “untouchables” for Left Eye and 2 pac]

Apart from numerous bootlegs (I know about 4), the original version of “think big” is just available on a testpress. Why didn’t you release this version instead of the following which features Sadat x?
‘cause we could not clear the sample. Jimmy Jam and Terry Lewis even tried, but the Hathaway family said we were cursing crazy.

Do ya remember how many copies of the testpress were pressed?
About 1200 copies were made.

The last time we talked I remember you telling me that you don’t even own a copy yourself. Aren’t you interested in it or is it just the sad fact that these are hard to hunt down?
Honestly I just was happy being an emcee - I never cared about the lil things, I was happy people were feeling me as an emcee.

What kinda music do you listen to yourself?
Kill me but I love a lot of the south. I like Remy Ma, Trina, Lil Wayne…the new kid Mims is cool.
T.I puts in work, 50 I like for his song making talent, and truth be told - no one can replace ll cool j!

to be honest, the rest of our conversation was too chaotic to write down. After some small talk he told me that he’s acutally working on his new LP called “Break Their Bank”. Acting like it’s nothin special he also told me that he’s down with Premo, Finesse, Buckwild and Large Pro... I asked him several times why the fuck he didn’t colaborate with him – but he couldn’t give a good answer on that one...his own fault…

Pudgee ft. Biggie & Lord Tariq "Think Big"

Christina Aguilera "Thank You"

Labels: articles for hhv.de, Maze talks to...

well, I did in May, but just to give u sumthing untill the next post I dug out this Interview for you cats. And, man, i gotta say this one is very special, he's talking some interessting stuff about melachie, the states and many more, diggersspot-quality, did u expect anything else???

Here we go:

1995 the Livin Proof lp was released - and this was the sound cats all over the world started lovin' - Lil Dap, Melachie and Premo. how did u get in contact with Premo?

I started with Premo back in the days, ya know, me and Premo came out at the same time.

Weren't there any other producers u liked at this time or why did u decide to release a lp fully produced by Premo?

On my first album I kinda helped Premier with it, so you know, Premo and i did a lotta production together.

when we talk about the sound - which style do you like most, Livin' Proof or A Tear For The Ghetto?

I like A Tear For The Ghetto. It's a little different cause it's more of us, there is no Premier, It's really all about us.
Premo only made one song, and ya know, when u talk about Group Home u gotta talk about Melachie and Lil Dap. That's what I came out with, since "I'm The Man" or "Speak Ya Clouds" it's been always Lil Dap and the Group Home, then I brought Melachie with me, ya know, then Melachie was around and it was still Lil Dap and the Group Home. I came out with the name on Gang Starr's first album, I was representin it since these days. Then I brought Melachie out on the first album, ya know, the first Group Home album, me and Premier really did the work on it, you know we wrote the lyrics for Melachie...

So you wrote the lyrics for Melachie???

Yea, I did, you know as far for his parts - I don't write my lyrics, I just do it from top of ma head.

On "A Tear For The Ghetto" you introduced a young producer to the world named Agallah. Nowadays he has way more output then u guys do. Why don't you work
together with him anymore?

You know, we helped Agallah to came out.You know, rite now he's with purple city, working with diplomats and stuff like that.
He needs to work on his appearance, we made our already, you know, we're group home, people know about us worldwide.
We helped him out and now it's his time to get his awareness now, to start his own projects and to get people know about him.
People know about group home since the Gang Starr days, ya know. Agallah has his hype rite now, he's gettin' a little awarenes - and WHY does he get his awareness? He got Jim Jones, He got Cam, so he got what? - He got names. He's just runnin of for names. We, Group Home, we got our own name. So Agallah tries to get what we already have. I'm pretty sure in a minute he'll b doin alright.

But are you still in contact with him?

Yeah, I talk with him like everyday.

When your last 12" ("Fast Cars") was released, I was kinda happy that it's still the typicall GH Style. Will you always keep this style or are you lookin' forward do try sum new stuff?

Well, I try new stuff all the time, that's what makes me so unique, ya know.
I've been in this hiphop thing since Gang Starr started, alwaya tryin new stuff and to help people out.

Ghostface Killah just said in an interview that he doesn't give a fuck about New York anymore, cause the typicall NY HipHop is dead. What do ya think about this?

He's right.
Everybody's doing sum stupid shit, these mothafuckers aren't focused no more. Like, hear my shit and u'll now how we move it.

Could we take Mobb Deep for example?

Yea man, I like Mobb Deep, I'm a big fan of their shit.

Of the new stuff, or just of the old ish, like I am?

Only of the old stuff...The new stuff, I don't really like too much, man. I dunno, they just put a album out and it's not poppin of in america.
Ya know, for the money and the promotion they got behind their stuff it should b blowin' of rite now, but I don't see really too much, I don't thing they're doing good with this stuff.

Wouldn't you sign a big deal for doin clubmusic?

Not really, cause I'm not into that clubmusic.
I ain'T knockin someone who does it, cause u gotta do what u gotta do, ya know what I'm sayin, u gotta take care of your family, but as far, u gotta keepin
it real with hiphop like I did since back in the days. But if I would take that chance and do music for the club It'd be cool, cause you know, we would be doin music and it would be for the club. (No, I don't know what he's talkin bout man!). I not gonna break my neck to do it.

You told me that you moved to Pensylvania - why did you do that and how do ya like it there?

well, it's only a hour or two from new york, I'm gettin sum peace of mind, write lyrics and do sum production.

You've been in germany a few times now, is there any difference between the german headz and those in the US you would state?

The stated make me sick, they piss me off. Everybody is following another one, follow this one, follow that one.
Everybody have an identity crisis or sumthing like that and I ain't with it, so I just try to keep it as real as possible.


I've been listening to most of the tracks of your upcoming soloalbum while doin this interview - is there already a releasedate?

It will come out very soon, but u cats in europe will hear bout it first, you know, before the people in america.
It will be very soon and when I talk about soon I mean soon, mayb in summertime.

Is there any chance to hear another colabo with jeru the damaja?

Yeah, we gonna another song for you supporters.
We put the single ("get it twisted") out to show sum love to you guys, and we'll keep on showin love to you.

What's goin on with melachie right now? What he's about?

Right now I guess he's locked up. Last time I heard he's locked up when I was talkin with Premier.
He's in jail, there aren't alotta things you can do when ur in jail.
But I'm still reppin Group home, even when my man is in jail, ya know, just to show some love to you, there aren't many artist who would do that.

I heard that he's tryin to become a boxer, is this true?

yes, he really tried to box, u'll see how this goes.
But like I said, I gotta keep the Group Home thing alive - that's what I came out with and what I'm going out for.

Any last words?

Group Home is still alive, watch out for my soloalbum , ya know, Lil Dap, comin soon.
Supporters, keep us alive and we will keep you alive.

That's all guys. I gotta say that Dap is a very nice and funny guy (Well, when he started to imitate his son's mother and how he got busted cause he suffocated her while we were eating at mcDonald it started to become embarassing for me, to be honest).
I heard the whole forthcoming soloalbum "I Adapt" and, yes, it's dope!!!

And now, just for you, two videos of his concert he did on this night....

Labels: Maze talks to...