Plies - The Countdown

This is the cover for his album (obviously) I couldn't find a cover at all for this tape so I figured it isn't pushin it too far since it IS the COUNTDOWN to the album haha

:)


http://www.shareapic.net/content.php?id=2767175&owner=bfochs

Label...: n/a
   Genre...: Rap
   Source..: CDDA
   Quality.: LAME 3.97 V2 / 44.1  / Joint-Stereo
   Size....:74,10 MB
   Rip Date: 07-17-2007


                         Track List

   01. The Countdown Intro                          00:37
   02. Got Em Hatin                                 03:01
   03. Bond Money                                   02:36
   04. Plies Speaks                                 00:14
   05. Dope Boy                                     01:55
   06. Plies Speaks                                 00:18
   07. Shawty Feat. T Pain                          03:51
   08. Plies Speaks                                 00:20
   09. Kno Som                                      03:48
   10. 50 Grand Short                               02:20
   11. Plies Speaks                                 00:36
   12. 100 Percent Real Nigga                       03:47
   13. Plies Speaks                                 00:46
   14. Bid Long                                     04:04
   15. Still In Em                                  01:37
   16. Ms Pretty Pussy                              01:46
   17. Get U Wet Feat. Pleasure                     03:56
   18. Plies Speaks                                 01:24
   19. U Aint A Real Nigga                          03:20
   20. Plies Speaks                                 00:25
   21. In Love With Money Feat. TI                  03:02
   22. Plies Speaks                                 01:04
   23. Where He At                                  03:10
   24. Plies Speaks                                 00:16
   25. Choppa Zone                                  02:56
   26. Plies Speaks                                 00:29
   27. Dont Work Dont Eat                           04:09
   28. The Countdown Outro                          01:32

                                        Total Time: 57:19 min


   Release Notes
   -------------




17] Plies - The Countdown
passWORD-www.rapgodfathers.com

   enjoy!

USHER SPEAKS OUT AGAINST RUMORS, BLOGGERS AND MEDIA!

By illseed

USHER SPEAKS OUT AGAINS RUMORS, BLOGGERS AND MEDIA!

USHER GETS GULLY WITH Y'ALL!! I can’t imagine the life of an entertainer such as Usher, but some things come with the terrain. Usher has issed a statement to People magazine, asking for privacy, dissing bloggers and denouncing some of the rumors. YALL DONE UPSET THE MAN! That’s word to Tom Joyner!

"It has already been announced that I plan to marry this year. However, since my wedding day will be special to Tameka and I, this is information that we would like to keep private. It's disturbing that the media and bloggers (under the guise as 'fans') continuously speculate on the personal aspects of my life, therefore making assumptions and wrong insinuations that my fans are subject to believe.

"I am happy, excited, completely clear and independent on my direction, feelings, decisions and I am NOT BEING LED. Some media and bloggers have been totally intrusive, they have misconstrued aspects of my personal life and, because of this, my 'true' fans are not sure about what is fact and what is fiction. There is a difference in stating an opinion versus drawing a conclusion that is incorrect.

"As previously reported, I have NEVER threatened or harassed anyone from any media format – print, radio, television or Internet media. At this point the best thing to say to my fans is just because it sounds enticing and it MAY sound 'true,' that does not make it truth. I understand the fact that I must sacrifice some anonymity for the career I love, however some things are personal like having a child or a marriage. These aspects are not for the public and, to me, are sacred. I would hope my privacy in these areas would be respected."

I feel for Usher and Tameka, but he knows better. The media is about to be like a school of Piranha on a bleeding carcass.

WWW.ALLHIPHOP.COM

Exclusive: Remy Ma's Attorney Talks Shooting

By Nolan Strong

Attorney Scott Leemon spoke exclusively to AllHipHop.com about a shooting incident involving his Grammy Award nominated client, rap star Remy Ma, on Saturday morning in New York.

Remy Ma, 27, was charged with attempted murder, assault and criminal possession of a weapon yesterday (July 14), after a shooting in Manhattan left a 23-year-old woman with gunshot wounds to the abdomen.

"I made arrangements early this morning with the Hip-Hop squad of the New York Police Department to turn her in, but it did not happen until this evening as I was out of town and my flight was delayed," Remy Ma's attorney Scott Leemon told AllHipHop.com. "As to the allegations, I ask everyone to keep an open mind."

Remy Ma, born Remy Smith, surrendered to authorities yesterday evening, for her alleged role in an early morning shooting in front of The Pizza Bar in Manhattan.

According to police, Remy Ma was involved in a dispute with a childhood friend named Makeda Barnes- Joseph, after a peaceful evening at The Pizza Bar.

Remy Ma and an entourage left the establishment, but an argument ensued around 4:00 am, when she argued with longtime friend Makeda Barnes- Joseph, apparently over a $2000 debt.

Police said that Remy Ma opened the driver's side door of Barnes-Joseph's Nissan Maxima and fired her weapon, striking Barnes-Joseph twice in the torso.

Remy Ma and several unidentified men fled the scene after the shooting.

Her Cadillac Escalade was found blocks later, after the SUV crashed into another vehicle.

All occupants fled the scene on foot. The men were arrested earlier today and questioned, while Remy Ma surrendered to police this evening.

Barnes-Joseph is in Saint Vincent's Hospital and is in stable condition.

"Things are not always as they seem," Leemon told AllHipHop.com. "Remember these are only allegations."

WWW.ALLHIPHOP.COM

Production Breeding Ground: Da Grindaz

By Dynasty Williams and Almen Jones

The creative mind of a producer is usually an untamed, uncompromising beast. That being said, it is easy to see how one could, at times, harbor the craft as his own, with contributing team members from time to time. Few have successfully formed a productive team that could produce cohesively as an intertwined hit-making unit. Da Grindaz are striving to stake their claim among the few successful production teams that have made significant marks before them.

The duo, consisting of Bao "Classic" Pham, a trained musician who plays the bass, guitar, keyboard, piano and the saxophone, and Stephen "H20" Holdren, a master percussionist who is also a wizard with chopping and looping samples, compliments each other's talents perfectly. It is this union that has landed the Alabama natives a placement on the king of the South’s new album TI vs. TIP.

Da Grindaz sat with AllHipHop.com to discuss their roots in Hip-Hop, their work ethic, and the circumstances that led to them working with the largest rapper in the game right now.

AllHipHop.com: So you guys are from Alabama, what's the Hip-Hop scene like down there?

Bao: It's not an industrial outlet down there and so it's kind of hard for folks to get out. You got a few cats that came out of there, like Dirty, Duece Komradz, thats been on the underground scene for years, Small Tyme Ballaz that had a single deal with Universal, Chason Dreamz of NuNoiZe Productionz and Khao both came out of there.

Stephen: Rick Rock, with The Federation; He's really a big influence I know on myself. Him and the guy who helped Dirty get their start, a guy named Dr. Fangaz. As far as producing-wise, them cats, they were like the late ‘90s. They were hard on like Wu-Tang [Clan] and stuff like that. It was like more of an underground thing.

When I got into it, it was like early ‘90s and it was poppin'. The only thing about it was that we was trying to chase a sound because we were from the South, but influenced by what BET was showing. BET was showing the East coast joints and we were from the South, and we go to the club and they playing Rob Base[and DJ E-Z Rock.] So it's like we were fusing the two. We never had a distinct sound. It's good because it's a melting pot for everything.

AllHipHop.com: How did you guys start out producing music?

Bao: Well we've been doing stuff on our own for a good bit and we just linked up about a year or two ago. I know myself, I've been in music since I was four, playing piano, guitar and bass. My dad had a band and I was basically into music my whole life.

Stephen: Myself, I've been kind of like the same thing. I started small and developed a passion for percussion. I went to elementary, junior high, [I was in] the marching band. When I went to college, I was in the marching band. I felt like I really wanted to pursue music. When I got to college I was like, "I'd rather pursue music," so I dropped out of college and started to grind from there.

AllHipHop.com: Who are some of your influences in Hip-Hop?

Stephen: Wu-Tang [Clan], Biggie [Notorious B.I.G.], Pete Rock. That ["They Reminisce Over You"] joint is still bananas today. Even like now we listen to the old stuff. People always say that our stuff has soul because a lot of stuff Bao plays guitar on. If we do a sample, instead of truncating the baseline, he'll play it live.

Bao: I kind of had a late start, I used to listen to alternative s**t. Like '91, I was on that Nirvana s**t, like Stone Temple Pilots, Smashing Pumpkins and Soundgarden. I was on that. Nirvana was the s**t to me. Until my homeboy, Arthur James Poole, Jr. a.k.a. Bo Bo, that dude is credited for giving me my first Hip-Hop CD, and that was that Ready to Die [by Notorious BIG]. When I listened to that s**t, man it was just over with.

AllHipHop.com: How do you guys work together when you create music?

Bao: It's kind of crazy, we got two different types of styles. How it's been working is that I may be busy and he's doing some stuff or he's busy and I'm doing some stuff, or we do it all together. I'm more like melodic, like playing bass and guitars and the melodies. Steve, his sh*t is on some sample s**t, some Hip-Hop s**t. We just coming from that ‘90s, East coast Hip-Hop, when it was good. Not to diss New York or anything. [Laughs]

AllHipHop.com: You recently were fortunate enough to get a major placement on the T.I. vs. TIP album. How did that come about?

Bao: Well we had a relationship with Khao a couple years back. We submitted some tracks to him and he walked it in and got it placed, and made it happen.

Stephen: It's a good look on both ends

AllHipHop.com: Now on the album, you're credited with co-production on the song with Jay-Z, "Watch What You Say to Me." What work did you do with the song to earn that co-production credit?

Bao: Well we contributed pretty much the groove of the track. Like I said, we submitted some things and [Khao] got it placed, but pretty much the groove of it. Basically bass guitars, what you hear and Khao did his thing and added some things to it, you know, did some drops and that was it. We're just blessed to be on the album because we beat out some big name producers and that's an accomplishment our first time kind of hitting it with two of the biggest names in Hip-Hop, the Legend and the hottest rapper out right now.

AllHipHop.com: So What's next for Da Grindaz

Bao: Well we got some upcoming projects with UpFront Megatainment, that's Akon's label Devyne Stephens. We are working with an artist named Shock Dollar.

Stephen: Yea Shock Dollar he was in a group that had a deal, but evidently he had something that he really wanted the world to hear, so he decided to do a solo venture with UpFront and Devyne. It's a good look on his end with him and LadiDrew. They gave us an opportunity to make it happen with a first time artist and us not really being well know producers. Even before the placement we were working with him. They gave us our first chance to develop and nurture our sound through him. So a lot of the stuff we did for T.I. and Jay-Z, that stuff you'll hear that reflect to the third power when you hear Shock's stuff.

AllHipHop.com: How can people get at you guys to listen to your music?

Bao : Go to www.DaGrindaz.com or hit us at DaGrindaz@gmail.com.


WWW.ALLHIPHOP.COM

Streets is Talking: Keith Murray

By Martin A. Berrios

Since Hip-Hop’s inception, there have always been rappers who have had the potential to be legends, but the unfortunate stars didn’t align in their favor. Grand Puba had the swag but no big push, The D.O.C. had the insane momentum, but witnessed his vocal chords crushed in car accident, and the list goes on and on. Def Squad product Keith Murray’s story doesn’t fall far from the top of the setback tree. Originally introduced through Erick Sermon, the self proclaimed lyrical-lexicon made a colossal impression with his single “The Most Beautifullest Thing In The World” in 1994.

Through the years, his verbose and complex style stood out immediately placing him on the tip of every critic’s pen. He would be put on pause though serving three calendars for an assault charge. Landing at Def Jam after the jail time, another physical altercation would put everything to a halt. Now off a four-year hiatus, the 33-year-old Murray is back refocused. AllHipHop.com’s Streets is Talking interview series sits down with Keith to get the real story behind his all of his highs and lows, victories and blows.

AllHipHop.com: How did you get your start?

Keith Murray: Well my uncle T-Roy is an original b-boy. He used to go out to the parties and I would be in the doorway, just looking. I had to be 10 years old or some s**t. I was looking at them n***as like, “That’s so f**king cool!” He had the Grandmaster Flash album when he had the Rolls Royce and the bear skin rug, [On the Strength] and the Run-DMC Raising Hell album; I was like, “How they do this s**t?” He was like, “All you got to do is make up a rhyme that makes sense.” Ever since then, I had the bug. I started writing rhymes and I was real studious in school, so I would incorporate vocabulary in the rhymes; that’s how my style developed.

AllHipHop.com: Is it true you stepped to Big Daddy Kane and battled him?

Keith Murray: Well my uncle Born True, God bless the dead, he used to be a bodyguard for Big Daddy Kane back in the days. Me and my cousin Drift, God bless the dead, always hung out together. He was the beat-box, and we went everywhere; tearing n***as down in every borough when we was young. I [told my uncle to] take us to Big Daddy Kane. He took us to a Juice Crew party, I auditioned there. Then he took us to the [Nassau] Coliseum when Kane had a show, then we went to the dinner and Born was like, “Kick some s**t.” So we exchanged flows at the time, it wasn’t really like a battle where I ran up on Kane and defeated him; I had the opportunity to rhyme back and forth with him.

AllHipHop.com: Were you trying to give Kane the business even though it wasn’t a formal battle?

Keith Murray: I still remember my rhyme, you crazy! Yeah, I was serving Kane the business, but then he killed me like, “Young boy/you just a toy/I’m 21/undone by anyone.” It was Big Daddy Kane! You couldn’t defeat him. He was in his prime!

AllHipHop.com: Did you battle for anyone else who we would be familiar with?

Keith Murray: No. Well, I auditioned for the Juice Crew. Kool G Rap was in the room, Big Daddy Kane, Fly Ty, MC Shan, Cool V, DJ Polo. Them n***as were in the room like, “Spit.” I got a DVD of that; I’m going to put it out.

AllHipHop.com: So what was the reaction, who was feeling you, who wasn’t?

Keith Murray: Everyone was saying, “He’s nice, put him on.” But then I went back home to Long Island, and I didn’t hear anything else about it.

AllHipHop.com: So how did you hook up with EPMD?

Keith Murray: K-Solo is from Long Island. One day [he] came to the block, and we used to rush him rhyming all the time. I had heard Erick Sermon had moved from Brentwood which was one town over from C.I. [Central Islip], so I told K-Solo to take me to E’s house. So K-Solo said, “Aight, meet me on his block.” We [end up in Sermon's] basement, E put on a beat on and I blacked out. That’s it. It was on since then.

AllHipHop.com: How were your first sessions or just being around with Erick Sermon when he record his second album No Pressure? From what I hear, those were your first times really hitting a studio?

Keith Murray: I never really did a demo until I met Curt Cazal from JVC Force and he did a little demo on me, but that was before [meeting] E. But I went to E’s house right before he went on that EPMD tour, that’s right around the time EPMD were about to break up. Erick went to Atlanta, and I went back to the block. A year later, he came back and said, “Let’s do it.” Being around Erick making that album was crazy because like you said, I [had] never been in a real studio. So I just followed his lead and when it came for me to rhyme, I went banoodles.

AllHipHop.com: What was it like the first time you met Reggie?

Keith Murray: Well Redman, I was with Erick Sermon for two years before I touched the mic. So I’m like, “Is this s**t going to happen or not?” Then he put me on that record “Swing It Over Here” with Redman. First time I met Redman, I didn’t [recognize] him; K-Solo knew him…[one time] I had to go to traffic court and he had to go to traffic court. We sitting in traffic court the same and we didn’t know each other. He had [released] “How To Roll A Blunt” and I didn’t even know him yet. I told [Redman] one time and he was like, “That was you?” Just me and him in front of the judge. [Later on], we smoked out and then we did “Swing It Over Here” and it was on.

AllHipHop.com: Did you beat the traffic ticket?

Keith Murray: Nah, my license is still f**ked up to this day, still! This is when I was 16, pushing a car that wasn’t mine with no insurance.

AllHipHop.com: What were you pushing back then?

Keith Murray: A Corvette, a burgundy Corvette; my step-pop had it. It was crazy.

AllHipHop.com: You dropped your single and title album The Most Beautifullest Thing In The World in 1994, can you describe that time period?

Keith Murray: I was selling drugs on the corner; that was my first year of community college and s**t just popped off. Erick was like, “Here is your show tape and here’s your plane tickets, I’ll see you when you get back.” Ever since then, I been on the run. My first tour was with Biggie, Meth, Redman, Nas. That was the era I was in. We was always around each other chilling, rhyming doing shows and s**t like that. So we all grew up in the industry together. Boot Camp Clik, them was my n***as - Jeru Da Damaja,

AllHipHop.com: So break down what happened between you and Prodigy of Mobb Deep at The Tunnel [legendary New York City nightclub].

Keith Murray: So we came up with The Most Beautifullest Thing In The World and we dropped that. Then that’s when Mobb Deep came with the interlude [on The Infamous] “F**k all you rappers that talking getting high on records and all that spaced out s**t.” I overlooked it. Erick said, “No, that n***a talking about y’all.” I seen him [Prodigy], and was like, “Yo, who y’all talking about on that record? Because it started getting out that you n***as was talking about us.” They were like, “Nah we ain’t talking about y’all.” So they call me to do [LL Cool J’s] “I Shot Ya.” I laid my verse first; I ain’t know who was going to be on the record or nothing. Then he comes on the record and says something [suspect], and E caught it.

AllHipHop.com: Then you see him at The Tunnel?

Keith Murray: That’s when we used to run in The Tunnel wilding. Wow, The Tunnel! Everyone always talking about their Tunnel stories, Murray was in The Tunnel, baby.

AllHipHop.com: Tell me a of Tunnel story...

Keith Murray: I will tell you a sick Tunnel story. It didn’t even happen in The Tunnel, it happened outside The Tunnel. Me and my man 50 Grand was driving in the car, in the Lexus Erick gave me when I first came out. We seen some girls, we were looking, looking, looking and BOOM my bumper crashed into a car right in front of me. I get out of the car and it’s Biggs [Kareem Burke] from Roc-A-Fella [Records]. My f**king Lexus is dented up to the moon [Lexus emblem]! His car ain’t even touched! He about to file with police and I’m like, “Oh no, please don’t do that because my ass is going to jail.” We exchanged numbers and s**t. I gave him the office number for E. I don’t even know what happened with that.

AllHipHop.com: So back to Prodigy, he said you snuffed him in front of police and ran out.

Keith Murray: Let me just make it clear, I have no problems with Prodigy. I snuffed him, yeah, but it wasn’t in front of police. I snuffed him, he ran, and I chased him, then my n***as were fighting his n***as. [We] caught one and beat him under the car with the cops there. They were saying we beat him under the cop car, stop f**king lying. My n***as beat him under the car and cops came and said, “Take it around the corner.” Matter of fact, ask Trigga Tha Gambler what happened; he saw it. I got love for Prodigy, I’m not disrespecting the n***a.

AllHipHop.com: So what happened after the first album did what it did and everything cooled down for you a little bit.

Keith Murray: I caught a case in Connecticut. Some dude got hit in the head with a stool. They said he got multiple lacerations from a razor blade. It happened to be the promoter’s younger brother, that ran up in the middle of a fight n***as was having. And I’m standing on the sidelines looking at the s**t. So he gets damaged, and they’re like, “Keith Murray did it.” I’m like, “I didn’t do s**t, so n***as couldn’t put it on me.” The district attorney said he didn’t go after me because I’m a rapper, he said he went after me because of my criminal history. I did three years for that.

I got railroaded, so I took it like a man and wiped with my hand. But I came out with Enigma before I went in. Enigma is my second album where I went spontaneously disgusting on them. I’m sitting in court and the mothaf**king album coming out the same day. So I never really got a chance to market and promote that album.

AllHipHop.com: Did you record label Jive have your back with what you were going through at the time?

Keith Murray: Yeah, Jive had my back 100%. They paid my lawyer fees and all that s**t. I was making money for them so they were willing to do whatever to do to help, and I appreciate that from the bottom of my heart.

AllHipHop.com: You released It’s A Beautiful Thing around this time.

Keith Murray: Oh yeah. I told Jive not to release that album. “The album ain’t finished, so don’t put it out.” They still put it out and that’s what made me discontent with them.

AllHipHop.com: How did the jail time change you? Did anyone try to test you since you had a deal?

Keith Murray: One thing about Keith Murray is Keith Murray is a cool dude. Keith Murray don’t bother nobody and nobody bother him. They tell you straight up don’t play
basketball in jail if you’re not ready to get into a confrontation, that’s were most of the fights start.

AllHipHop.com: You got hacked?

Keith Murray: Nah, I’m just real nice in basketball, and they couldn’t take it because they were getting a little frustrated that’s all. I love a good confrontation though.

AllHipHop.com: So you get out of jail.

Keith Murray: So I’m like listen I want to get off Jive to pursue other avenues, then Def Jam bought the project for $2,000,000. So it was cool, I went over there and start recording. At first I thought I was going to a boutique label, but I was at a corporation. Then the A&R factor came in; I never worked with an A&R before. Then the suggestions of doing this and that, that started thinning me out. It didn’t become fun anymore.

AllHipHop.com: So it was more about the business than music over there?

Keith Murray: It was like they want something but they didn’t know what that was and I didn’t know what to give them because I’m used to doing what I do. So it was definitely a crossroads.

AllHipHop.com: Was that “Candy Bar” song their idea or yours? It seemed out of your zone at the time.

Keith Murray: It was Kevin Liles’ idea. I thank him for that record because that record kept me current and I still do shows now. When that s**t comes on, it’s over in that mothaf**ker. It surprised the hell out of me on how big that record is.

AllHipHop.com: But the record didn’t get as big it could have --

Keith Murray: -- Been because the growth was stunt because of the situations that occurred.

AllHipHop.com: What’s good with this album?

Keith Murray: The album is called Rapp Murr-Phobia. It comes out July 31st. I named it that because as I been doing the knowledge of the game, Hip-Hop has been taking a lot of low blows right now. And I see that the same way Keith Murray is. The take advantage of you and hang you out to dry. I would like to think that this album is harder than Enigma but more lyrical than Most Beautifullest Thing in this World. Erick Sermon produced the whole thing. I got Redman, Method Man, L.O.D., Lil' Jamal from Illegal. I feel real good about the album. This is something I made because this is something I made and I liked making it. It was fun and I love it. My heart is into it. It’s an album!

AllHipHop.com: Have you ever seen the Beef 2 DVD?

Keith Murray: Yeah.

AllHipHop.com: What’s your comment on the EPMD segment of the tape where they were alluding to that Erick Sermon sent some guys to rob Parrish?

Keith Murray: K-Solo started that bullsh*t! He’s the reason why EPMD broke up. He said that. They got the boss looking like the villain. I wasn’t around that time, so I don’t know. I can’t really talk about it, but Erick Sermon is a good guy.

AllHipHop.com: Can you elaborate on how K-Solo separated the two?

Keith Murray: Yeah, he was Parrish's man. He told Parrish [that] Erick did it all. He’s the reason why EPMD broke up. He’s the reason why Parrish was like, "E did it."

AllHipHop.com: When’s the last time you’ve spoken to Solo?

Keith Murray: I don’t f**k with Solo. I haven’t seen Solo since Solo seen himself. [Laughs] Last time I heard, he was walking around with a Bible saying he's Jesus Christ and Suge Knight is the devil. N***as is crazy. You can print anything I say. I don’t give two s**ts.

AllHipHop.com: Yeah, keep it funky.

Keith Murray: Word up, funky like a chunky money. July 31st Rap-Murr-Phobia: The Fear Of Real Hip-Hop. You got Al Sharpton boycotting G-Unit, Al, go sit your ass down somewhere! Leave a young rich man [50 Cent] alone, trying make a living. And Imus, “Oh, Hip-Hop did it,” f**k you, you leprechaun looking ass n***a. And the media going to take it like, "Yeah, Hip-Hop did it." Why wait to say all that? We going to keep doing it and nobody going to stop us! And we [are] going to get everyone that loves us to support us! We don’t need y'all!

WWW.ALLHIPHOP.COM

Tech N9ne Collabos - Misery Loves Kompany [MP3 Format][Retail][Not GroupRip]

 



Tracklisting

1. Kansas City Shuffle (Intro)
2. Midwest Choppers (featuring Big Krizz Kaliko and D-Loc & Dalima)
3. Misery (featuring The Journalist and Yukmouth)
4. That Box (featuring Big Krizz Kaliko, Greed, Kutt Calhoun and Skatterman & Snug Brim)
5. Gangsta Shap (featuring Big Krizz Kaliko and Kutt Calhoun)
6. S.O.S. (Sex Out South) (featuring Big Krizz Kaliko and Kutt Calhoun)
7. Get Ya Head Right (featuring Money Hungry and Snug Brim)
8. Fan Or Foe (featuring Big Krizz Kaliko and T-Nutty)
9. Girl Crazy "Crazy Love" (featuring Big Krizz Kaliko) (Produced by David Sanders II)
10. 2 Piece (featuring Big Krizz Kaliko, Big Scoob and Joe Vertigo)
11. Big Scoob (featuring Big Scoob)
12. Yeah Ya Can (featuring Big Krizz Kaliko and Shadow)
13. I Can Feel It (featuring Agginy and The P.H.I.L.S.T.A.)
14. Karma (Skit)
15. You Don't Want It (featuring Big Krizz Kaliko, Mr. Reece and Prozak) (Produced by Rob Rebeck)
16. Message to the Black Man
17. The P.A.S.E.O. (The Poem Aaron Saw Extra Ordinary)


Release Notes

mp3 format
all files tagged
cover and playlist included


Tech N9ne Collabos - Misery Loves Kompany [MP3 Format][Retail][Not GroupRip]

Jadakiss To Stand Trial For Gun Charges

By Mike Winslow

Jadakiss and two other men will stand trial for weapons charges stemming from an October arrest, in which police recovered a stolen handgun in the vehicle 32-year-old rap star was traveling in.

Jadakiss, born Jason Phillips, and three others were charged with third-degree criminal possession of a weapon in October 2006, when police stopped a 2006 Toyota Camry and were greeted with the smell of marijuana.

When police searched the vehicle, they found a stolen .38 caliber handgun in the center console.

According to the Journal News, the car belonged to the driver of the Camry's girlfriend.

When police conducted DNA tests on sweat found on the weapon, the results concluded that three unknown individuals had handled the weapon.

Still, prosecutors will try the rapper on the gun charges.

"He had no knowledge of the gun in the car," Phillips' lawyer, Clement Patti, said. "They're saying that there's a presumption (of possession) ... but with no fingerprints, (others') DNA, in the interest of justice they should dismiss the charges."

The driver of the Camry, Darnell Frazier, 25, faces weapons charges in addition to driving while ability impaired by marijuana. Frazier served three years in prison for stabbing a man to death who insulted his rapping.

One of the four occupants testified in front of a grand jury and does not have to stand trial.

Jadakiss is due in court in August.

WWW.ALLHIPHOP.COM

YA I WENT THERE....FIRST DJBFREEZY MIIIIIIIIIIX!

i said first cuz i actually trie'd to put some ish together...usually i just make bomb discos compacticos 4 my peeps...its that mary j blige-be without song...but i found a male version by metro city...put them togetha...enjoy...NOTE: i made this on my computer so u can't really scratch all that good w/ a mouse pointer...its like djin' w/1 hand....

DJBfReEzY presents...BE WITHOUT REMIX

Pursuit of Fly: Being Fresh When You’re Broke

By illseed

I’m broke and so are you. Be honest.

This fashion series serves as a guide to keep you fresh and fly, despite your bank statement and other limitations. If style was eyesight, I would wear bifocals. But, let me stay on task.

In Hip-Hop, the sixth element of the culture - in my opinion - is fashion. The main issue is the lack of funds causing the pursuit of “fly” to become a chase as elusive as the cat to the mouse or maybe the United States to Bin Laden. Now that’s a helluva chase! I’ve never claimed to be any sort of ultra fly guy, but I try my best to keep up with the Brownes, Joneses and the Jacksons. That is within the confines of reason.

Of course, this means, trying to have hot kicks, trying to pop my quota of tags and buy the occasional piece of jewelry. But we’re not Young Jeezy, Lil' Wayne, Jay-Z or 50 Cent and for all intent and purposes, we have very little money.

The first illseed rule to staying fly is to always stay clean.

Some of you aren’t going to agree with this, especially the younger ones, but listen. If you are short on cash (or living as a middle class citizen, with your parent(s) or renting), buy a fair grade of inexpensive, white sneaker (think the classic shelltoe Adidas or the Nike Air force 1). You don’t have to have the crazy, ill colorful, one-of-one sneaker. Your shirt can be a top brand from Foreman Mills Mall or Burlington, still crazy inexpensive, and still more than up to par. You are so fresh and so clean.

One of the worst things for a b-boy or b-girl is to have the hottest, most expensive fashions…of last year. Oh, but it gets worst. If you spend all your money on that one or two garments, you can’t re-up as fast. How wack is layaway? If you can’t re-up as fast, you can’t stay as clean as the next man. And don't get caught in fake stuff! Those fashionistas will call you out! On top of it all, these super expensive garments get dirty, scuffed and played out like everything else. I stay in Marshall's department stores and have friends that buy from places like that only to resell to those so-called trendy types on the street.

Don’t be a dirt ball Hip-Hopper, because there is nothing worse that that. I’m not into the long, white tee crap, but a clean whitey is better than a grimy, old anything name-brand. Take it from me, budget baller, don’t trying to compete with the rappers on their terms. Play the game, but play by your own rules. Keep it classy and classic.

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Pastor Troy: Catch Me While You Can

By Brandon Raybon

Pastor Troy has been a staple on the Crunk scene for many years. Carrying the title with an official belt wrapped around his waist has made him hard to miss. With hits like “Visa Versa” and “We Ready,” he showed the industry he was a force to be reckoned with. In doing so, he bumped a few heads - Master P and Lil' Jon included, on the way.

After formerly being a flagship artist at Universal Records years ago, Troy returned, after a stint with Koch, on the SMC/Universal roster. Claiming that he's defiantly independent, Pastor Troy's recently-released Tool Muziq has garnered the reviews that Pastor Troy pulled in his first run in the late '90s. Already a self-proclaimed, the Atlanta rapper tells AllHipHop.com, that if he sells serious units, interviews are limited. For those who think strongly of Troy, we caught him while we could.

AllHipHop.com: Your deal with Universal Records was a major step for you, what happened with the deal and what made you and Universal part ways the last time?

Pastor Troy: I really completed my obligation with Universal. I recorded four albums while I was in my deal and it got to the end of the obligation. It was like getting out of jail: you can get out or you can stay in for another damn week. I’ll get out and we will talk later. It was about getting free. It wouldn’t have been a big deal to sign back with them, but to just be able to entertain is what I want to do.

AllHipHop.com: I know you had some beef with Lil' Jon and Lil Scrappy at one time. How is your relationship with Atlanta rappers now?

Pastor Troy: Man, I’m cool. Everybody [is] staying in their lane for the most part. It’s all good. I don’t have a problem with that. Stay in your lane.

AllHipHop.com: How do you feel the South is being portrayed in the radio and in the industry?

Pastor Troy: Real bubble gum. Real bubble gum style right now. It’s crazy. Like they’ve turned Atlanta into a whole dance city. It isn’t even about that. If I got to make a dance song to get on the damn radio, I won’t be on there.

AllHipHop.com: You were able to pull in some heavy-hitting producers for the album Tool Muziq...

Pastor Troy: I got Shawty Redd - the sound behind Young Jeezy, Drumma Boy, DJ Squeeky out of Memphis and Zaytoven - the sound behind Gucci Mane. I went and got some bangers. All these boys love my style and wanted me to have the best shit. So that is what they gave me.

AllHipHop.com: In being that the initial title of the album was Saddam, what went on that made you change the name to Tool Musiq?

Pastor Troy: A lot of stores did not want the controversy and for people to misinterput the message. I damn sure didn’t want to get picked up on a Terrorist Act. It’s all good though, it was nothing but a name change. I still was able to create the album with that name being in mind. So the album is still Saddam. It wasn’t s**t. Instead of [the would-be title track] being track number two, its track number one.

AllHipHop.com: Now that you have moved on to SMC Records, how do you feel about them and how they represent Pastor Troy?

Pastor Troy: SMC is cool. I dealt with them last year and sold a lot of [copies of Stay Tru] without any kind of push. It was through a third party that took me through SMC. We got rid of the middle-man and now we dealing with them direct. I think we are going to have a lot of success over the years.

AllHipHop.com: Do you still feel like you are the Crunk King of the South?

Pastor Troy: I’m the champ. I’m looking at the belt while I’m talking to you. [Laughs]

AllHipHop.com: Who are you feeling right now in the industry?

Pastor Troy: I’m not no hater. I dig anything that sounds good to me. Any tracks that I heard that I would like to rap on, I can dig that. From Young Jeezy’s s**t to Tip’s s**t, I like what I like. I ain’t no sucker. I’m not like “I don’t like that s**t.” I’m real. That’s what these Motherf**kers need to do in return.

AllHipHop.com: Since you’ve been in the music game for a while, what advice can you give a new artist just coming in to the scene?

Pastor Troy: All I can say is, do what works for you. I look at the dudes on the major labels and their situations. That is all cool, but that isn’t what works for me. I work better as an indie. Do what works for you. I’m going to do what works for me. I specialize in this independent game. I kill them - we kill them. It is a lot of stress off of you. I ain’t got to try to go gold. But if I do, don’t call me for an interview because I am going to be hard to catch up with. [Laughs]

AllHipHop.com: So, for you, the independent thing is the way to go?

Pastor Troy: Yeah, this is were I started. Some people don’t have that independent grind. Some boys would not know how to survive without a major push. That really isn’t my problem. We can do it either way. We still got major distribution. It’s still a big boy distribution situation. At the end of the day it’s all mine. I own these songs forever publishing and all.

AllHipHop.com: What do you have popping off in the near future that we need to know about?

Pastor Troy: Man I am going to drop a Rock album. I got this rock character I have been trying to create for a while now. I have been talking about it for a couple of years. His name is Mavado. When I’m in the character, I’m a straight Rock character. It’s cool to be able to flip it out like that. Everybody can’t do that. My voice already wild like a Rock singer. I just want to hear myself do it. We got a lot of songs in the bag. I want to try and step out with that before the end of the year. You miss a 100% of the shots you don’t take.

AllHipHop.com: One particular hit that has everybody still thinking is 2002's “Visa Versa.” How do you feel about that song's popularity?

Pastor Troy: That was a strong song, man. The song was so powerful because all it was a simple question. It was for everybody, though. So many people felt it and it feels good to be felt like that. When you're in the club and the beat hit, everybody starts saying “Yeah!”

AllHipHop.com: Earlier, we talked about Saddam. How do you feel about the War in Iraq?

Pastor Troy: It’s really sad, man. I am the kind of person that feels like we need to protect home. I would much rather see our people set up on the border with guns and s**t than sending people way over there starting s**t. It’s about oil, and everybody knows that. It isn’t about anything else we think - just simply about oil. So many innocent lives involved in the middle of that s**t is treacherous. I love my country and all that good s**t, but at the same time, I ain’t going over there. I ain’t going over there interrupting a government they have had in place for years and years. They survived this long with it, who the hell are we to try and change it. It’s so crazy because they couldn’t come over here and that happen. You think them motherf**kers would come over here and kill President Bush and tell all of us we going to be Muslims? It’s not going to happen. America, America, America. I just hope I ain’t in the way when it goes down.

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Mr. Porter: A Thin Line

By Antonio Sams & Dynasty Williams

Is Denaun Porter mentally balanced? If you peruse the production credits on notable singles like 50 Cent’s "P.I.M.P," Pharoahe Monch's "Body Baby," and multiple D-12 records, the answer must be yes. But some of Mr. Porter’s actions tread closely along the lines of insanity. After reaching multi- platinum status as a producer and a rapper, the man with multiple personalities has officially crossed the line. His new website MrPorterBeats.com has stacks of beats for sale with starting prices of $25. Drastically reducing the price tag on his creations has some people thinking he has lost his marbles entirely. But, Mr. Porter’s level headed movement is creating opportunities for street level artists, pushing him to accomplish goals as an executive, and allowing him to contribute production to the much anticipated Dr. Dre album Detox. Mr. Porter took time out with AllHipHop.com to clarify his state of mind and connect the dots on his journey to prominence.


AllHipHop.com: How did you get started in music production?

Mr. Porter: It was actually in ‘94. I was in a local group, this guy was one of my group members, he did beats. He introduced me to Proof, and Proof introduced me to J Dilla. And that was pretty much how I got into it. And then from there, I hooked up with Dre, after Eminem got signed.

AllHipHop.com: Being both a producer and rapper, which art form do you tend to enjoy the most?

Mr. Porter: As of late, I’ve been enjoying the producing end a lot more. Being able to executive produce and becoming more involved in the whole process of the record, it’s made me so much more serious about it. I like the fact that I can work with the artists from the top and the bottom. Being a rapper is one thing, and being on stage is one thing, but the producing end of it is kind of like being able to do everything, because I might write the hook, I might write the song, and I might come up with the whole concept of the song. It’s really one in the same for me.

AllHipHop.com: How did you end up executive producing Pharoahe Monch’s Desire?

Mr. Porter: Me and Pharoahe basically met, and we worked on this song called “Peppermint Creeps.” Once we met and we started talking, I’m already tripping because it was Pharoahe, but we started talking and got cool. We had an understanding; it was just easy from that point. His situation with Rawkus was over with, and I took him to Shady [Records], and I was gon’ executive produce it and actually do an imprint under Shady, which is my imprint Runyon Ave. The process took so long, and we just ended up not doing the deal. Everywhere he went, I was just involved in the project, because we were constantly doing songs and constantly working. You know how a manager might want you to do things a certain kind of way as far as business, like, “Make sure you get paid first,” but when you got a love for music and you got an understanding with somebody, we ain’t give a s**t about that, we just kept on working.

AllHipHop.com: What are your final thoughts about the album?

Mr. Porter: I would have to say that it became more complicated. I don’t feel like it was a full executive production. It was my first taste of doing it, but I know that it’s a lot more to it. But I wasn’t able to really get all of that done, because they wanted certain records and I think it became a rush thing for the label [SRC/Universal Motown]. It kind of got out of my control. I didn’t have that full control. Had I had full control, it might have been different things that happened. Different songs would have made it, some would have made it, but other songs wouldn’t have made it. But as far as being involved, I did like five or six songs on it, I executive produced it, I co-produced songs. So I’m deeply involved.

AllHipHop.com: 2006 was a rough year for Detroit Hiphop. Within two months of each other, both J Dilla and Proof passed away. You worked closely with both of them, how has that affected you personally?

Mr. Porter: You gotta understand, that’s the reason that I got into the game. Proof introduced me to J Dilla. I introduced J Dilla to Dre, and just having that feeling of being able to have Dre, J Dilla, and myself in the same room, both of my teachers, was the greatest feeling on Earth. And plus, this dude [J. Dilla] allowed me to come over his house late night when he was doing sessions with Pete Rock. And Proof, me and Proof, we had the relationship where I didn’t know how proud of me he was until I he was gone. Me and him would fight. We’re one in the same, I feel like, because he taught me so much about just being able to stand on my own, and not wait on one person to do anything. That’s why I’m kind of like out ahead and not waiting on Eminem to do anything, because he told me don’t do that, that’s not the move. He helped create who I am, and J Dilla helped create who I am. I got Guilty Simpson, who me and J Dilla was gon’ do his project together. That was the last artist he planned on working with, as far as his own artists. And now that I have to finish that record, it’s tough, every time I hear a song that J Dilla did. That whole year was the worst year of my life. They’re the reason that I’m in the game, because if Proof never introduced me to Jay Dee, I never would have got that serious about producing.

AllHipHop.com: Proof was the founding member of D12. As far as recording your current album, how has the chemistry been affected by Proof not being there for this D12 album?

Mr. Porter: I’ll tell you the truth, man: it’s affected to me, a 100,000%. I don’t even know how I’m recording a record without Proof. The whole relationship with this group and Em [Eminem] and everything is affected. You feel the difference. I know Proof wouldn’t tolerate a lot of s**t, man. I’m not trying to take Proof’s place as the person that just takes over the group. I can’t do that. I can’t front like that’s what’s up, 'cause that’s not what’s up. Music wise, I think we can manage as far as doing certain things, because a lot of times Proof would come to the studio, sometimes he wouldn’t come to the studio. But he was the boss, man, so he ain’t have to.

AllHipHop.com: So he was like that voice that everybody listened to?

Mr. Porter: Oh yeah. He was the leader, period. He put Eminem’s stage shows together. The way people saw Em, Proof had a lot to do with that. Proof put those songs together and how the stage show went. It was for Em to perform those songs a certain kind of way and make people feel it. Because the way he put that show together, he put it together so people could feel it. Those things are so important, and we’re missing all that now. That’s all gone.

It’s hard, number one, to do a record without everybody there that originally started something. Em is busy doing his album. Like I think sometimes, that I hear that people think that I’m too busy to do this. And it’s not that I’m too busy to do anything. I’m just trying to get to the point where we get the record done, and everybody’s focused on the same thing. I can be focused on doing a record, but I don’t want to do the record we did for the last record [2004's D12 World]. It’s a lot of different feelings and emotions. And sometimes we can be angry and say a lot of stuff out of anger and do a lot of stuff out of anger. And I just want everybody to be in the same room - not a whole bunch of other people that we don’t know - the group, us, who we are. That’s what I’m looking for and that’s when I feel like we’ll be able to come back to it. I’m not having fun with the music that we make, bottom line. It could be that void, but in the same breath, it’s gotta be how things are being handled. I’m not currently happy with my situation. If people at the label are looking for me to lie about being happy, nah, I’m not happy. Nobody’s happy with the fact that we lost Proof.

AllHipHop.com: Your website Mrporterbeats.com launched on June 15, 2007. What can we expect from this site?

Mr. Porter: Basically, beats with hooks. They will be top quality, all of the beats I’ve mixed. These beats can be used for people that are working on demos to shop music, and that are working on mixtapes, things of that nature. You got the RIAA taking people down for using other people’s music. I don’t sample. I make up all of those melodies myself, and when I do sample, I do it in light of what I’ve learned from Dilla and all of those people. Expect everything that you would want to buy from me if you saw me. Like, “Okay, I can’t afford to pay for this kind of beat, but yo, why don’t you hook me up with something?” People that really know my production and know me, they know that every time I come with something, I’m gon’ try to my best to make sure it’s the best thing as possible. Basically, it’s for people that want to do different music.

AllHipHop.com: Is it true that you’re selling these beats for $25 dollars and up?

Mr. Porter: The beats with the hooks are $150.00, the beats without the hooks are $50.00, and you have prices in between according to the music. That’s because it’s not a concern of trying to sell the beats. I’m basically trying to be able to reach a lot of people that I’ve never been able to reach, like people overseas. If they want that beat for themselves, and they want the Pro Tools session, they can get the Pro Tools session and they can post their songs. I’m going to listen to their song, and let people vote on the best version of that song. And then they’ll be able to get that beat, and they will have to go through the proper channels to be able to put that song on their album.

AllHipHop.com:. Dr. Dre is using a team of producers to craft his much-anticipated Detox album. What role are you playing on this team?

Mr. Porter: It’s just a team of dudes who have a respect for each other. It’s the hardest thing to explain, ‘cause it’s really like, he has a job to do, he has a record that he’s ready to put out, and I’m there to help that process. Whatever that means. If that means writing a hook, if I that means doing a beat, and I have a beat that’s a skeleton that’s a great idea of a beat, he’ll make that idea better. Dre, he’s a visionary. He’s Quincy Jones, he’s one of those real dudes. He’s the real thing. My part is just to help the creative process, however that is, because I don’t wear one hat. It’s really hard to explain, but it’s important to me that it comes out, because it’s so important to Hip-Hop. And to be a part of that means everything to me.


AllHipHop.com: Have any of your beats or ideas made the album, from what you know?

Mr. Porter: I don’t of know what I’ve done that’s going on it. I don’t know what direction it's going, only Dre knows that. Only he knows where it’s going. I’ll tell you what, it’s gon’ change Hip-Hop again.

AllHipHop.com: Aside from the music, who is Mr. Porter the individual?

Mr. Porter: A person that’s always thinking. An emotionally unbalanced character, I would say. Because I don’t deal with some issues very well. Emotionally, it’s hard to deal with those things sometimes. And just a visionary, I want to be considered, when I leave here, the guy that brought Hip-Hop to a different level as far as artist that come about. I want to be the artist, the producer, and the executive. I want to be the next Russell [Simmons] and the next Quincy Jones of rap. A cross between Quincy, Russell, and Dre that’s what I want to be. That’s my whole purpose, to figure out how to combine those three and make those moves that way, however long it takes me.



WWW.ALLHIPHOP.COM

FOR THOSE WHO THINK...

they can get all nice w/ me and use me for shit...

Kinfolk Kia Shine: Well-Done

By Brandon Raybon

The era of ringtone raps are in full bloom - whether you're partying like a rockstar, standing under an umbrella, or explaining why you're hot. Kinfolk Kia Shine is one of the latest rappers to move directly into Top 40 radio, with his "Krispy" single's addictive chorus and "Paul Revere" bassline. However, if you think it's been a short road for this Memphis rapper, you're assuming wrong.

After a stint with Ruff Ryders and a botched production deal, Kia Shine claims he was homeless - far from $900 jeans and $850 shoes. By the grace of God, the spiritually connected rapper got a second chance at stardom, and landed a deal with Universal/Motown. Rightfully, the local veteran declares his album Due Season, and tells AllHipHop.com about the long, unpaved road to that krispy cream.

AllHipHop.com: What made you turn to music as a career?

Kia Shine: First off it was God’s plan for me, as far as [my] vision goes. My background was in the corporate arena, but this is what he envisioned for me; to do the music. I came in as a CEO and started my own label. I went from that to selling beats up here in New York and getting a production deal with Ruff Ryders. I got a publishing deal with Universal Music Publishing Company; I took that money and came back to Memphis. I sunk that money into my own company Rap Hustlers Music, which is ran by me and Jack Frost. We signed Skinny Pimp, Yo Gotti, La Chat, and Gangsta Blac, all the guys from Memphis; we toured in 2002 also. That is pretty much how I got into it. I took advantage of cross-marketing myself with artists that already had a name, and branded Kia Shine. That is how I developed my base, putting out DVD’s and the Yo Gotti CD.

When the time was right, I did my own thing. Seeing how it is with certain artists, no disrespect to anyone, but I had to reinvent myself and do it how I wanted to do it. With the record “Respect My Fresh,” we dropped it in the street and got that going in Memphis. After it rocked the club, it just flew. We got the spins up on it and it received about 19.6 million on Media Base. We dropped another record in the midst of that and wrapped the deal up. It was God’s plan for me to do it myself.

AllHipHop.com: With all your experience in other arenas, how did it help you once you became an artist yourself?

Kia Shine: First off, knives sharpen knives. What it did is taught a lot of lessons. Through all my ups and downs, valleys and peaks with the music, I was able to be blessed to be around people like Ruff Ryders. I was able to see a lot of stuff. I learned from a corporate perspective, but I also learned to see it from an artist and producer prospective. Working with Lil' Wayne, [Lil'] Flip, Lil' Jon, [Juvenile], and Mike Jones on my own projects helped build relationships with those guys. I was able to learn from what they were doing and what I was seeing, so I kind of got the best of both worlds. I got my corporate swag together by going to New York all the time. I always had my artist swag, but I got my production swag by making records.

[If] you come out of Memphis, [it's expected that] you’ve seen Suave House and [CEO] Tony Draper do his thing. Me being down South, I’ve seen the early cats like No Limit do they thing. Memphis is in the center of all that. Besides Atlanta, people come to Memphis to break their records. If someone can work it in Memphis, they can just about work it anywhere. So we were able to take advantage of that. Being the birth place of Blues and accapella, it is a musical city anyway. So all that music coming through there made an influence on my life.

AllHipHop.com: After all that experience, how is your relationship with other Memphis rappers?

Kia Shine: I think it is good; the respect thing between me, Three-6, 8Ball & MJG, Gotti, and Project Pat is there. All of the artists out of Memphis have a respect thing going on. I definitely ride my own lane and I think everyone respects that I am doing that swag music. I am coming out of Memphis with a different sound.

AllHipHop.com: We know you signed with Universal Motown and the album is entitled Due Season. Is there anything behind that?

Kia Shine: The reason for Due Season is our Jesus, that’s due season. The secret is Jesus. He is the reason for the season. In the Bible it says, “Let us not be weary in well-doing: for in due season we shall reap, if we faint not.” That means if you don’t give up and continue to do the things God has blessed you to do, you don’t faint. You will get your season when you reap what you put into it. This is the season I will reap everything I put into my music. I have sacrificed and been homeless for this music. I have spent my last and lost my last, you know how it goes. There’s ups and down, highs and lows, valleys and peaks. God has kept me on point and now it’s due season.

AllHipHop.com: The radio has been banging “Krispy,” plus you've got “Respect My Fresh,” and “Be Everywhere” heavy in the streets. For those that don't know, what do these different sides suggest about you as an artist?

Kia Shine: That right there is a case in point of what I love. You just named three songs off my album that you like already. Besides Jeezy and Lil' Wayne, give me another artist that has three or four songs that you really like off their album? I am at an advantage when you talk about those three songs. I got 8Ball & MJG on “Blood City Classic,” and they are the only other artist featured on the album. I ain’t trying to have a whole bunch of people on there. This album is about me and what I am trying to do; I ain’t trying to do a compilation. I want people to mess with me. If you like “Respect My Fresh,” “I Be Everywhere,” “Stunna Shades,” and “Krispy” you in for a treat, because you are already four songs in.

I am guaranteeing there is another four or five on there you are going to mess with. I personally like it all. There are like eight or nine records you will mess with [Ed's note: Due Season has 15 tracks]. There ain’t that many albums coming out that have eight or nine records on it you will mess with. From a consumer standpoint, I think it is going to be refreshing. I ain’t talking about dope or guns on there. I ain’t a trapper rapper, I’m a dapper rapper.

If the album doesn’t do nothing but inspires somebody who's going through it to get to it, to keep going and keep on pushing; if nothing else, regardless if it sell or not, you cop this album you will come out knowing where I come from, where I been, and where I’m going.

AllHipHop.com: You always have people hating, but with lyrics like "Put my money where my mouth is, and bought me some teeth/ Just to let you haters know, what I’m talking ain’t cheap." What's behind that?

Kia Shine: I was trying to put you on speaker phone so my homie could hear you. I was letting my dude hear the album last night and he heard the joint with 8Ball & MJG. He gets out the car and runs around it. He was in the lab, but when you hear it you will be surprised lyrically. One thing I am doing on the album is being truthful. From when we lost a lot on Rap Hustlaz, my dude went to jail, we were homeless for a minute, and I was broke and lost my house. I talk about all that. The heart affects the heart. That is all I can do: tell the truth of my story. If you like it, you’re going to like it. If you don’t, I really don’t care. The people that God meant to like it will already like it.

WWW.ALLHIPHOP.COM

contactin' djbfreezy...

i stopp'd bein' a lame and pick'd up a cellphone...them shits is hella annoying IMO...soon i'll shout some digits for bookin' shows and such....be on the look out!

DJbFREEZY presents...CPLUS!!!!

CHECK IT OOOOOOOOOOUT MY BUDDY CPLUS FROM G-VILLE FLA DON'T PLAY...IM GETTIN' HIM TO COME TO THE 'SAU...EVENTUALLY....

CHECK OUT HIS MYSPACE....DUDE DON'T PLAY GAMEZ HE LEAVES THAT SHIT TO THE PARKER BROTHERS OR MILTON BRADLEY...













cpLUs

Kelly Rowland: Ms. Kelly

By Alex Thornton

Stop feeling sorry for Kelly Rowland; she doesn’t need your pity. Since the effectual break-up of Destiny’s Child, Kelly’s stalled solo career has often been attributed to Beyoncé’s supposed “lead singer syndrome” or a nonsensical plot by Matthew Knowles to keep his biological daughter in the spotlight (as if he wouldn’t want them both to succeed). True, Kelly hasn’t reached the same level of stardom as B, but is anyone holding Kelly back more than Kelly herself? People will believe what they choose to believe, but with the release of Rowland’s latest, Ms. Kelly (Sony), Rowland seems to be her own worst enemy.

Musically, Ms. Kelly comes across like a lost Destiny’s Child group album, which here in 2007, isn’t meant to be a compliment. By now, nearly every aspect of DC’s act has been lifted over and over again by every forgettable, one-hit-wonder R&B chick under the sun. Because Rowland hasn’t modified her sound to stay ahead of the pack, Ms. Kelly doesn’t show enough individual personality to prove that she’s more than just a lucky back-up singer.

Polow Da Don’s amateurish production backs the false-start opener “Like This,” which apparently isn’t about anything. Scott Storch doesn’t follow-up with much more on “Comeback” which could’ve been a remix to “Bills Bills Bills.” Either track may have worked a few years ago but are unimpressive today. Things pick up a bit when the album moves towards the slower love songs, where Rowland is able to lean on her strength as a vocalist rather than trying to force herself into the mold of a pop star. Storch redeems himself with “Flashback,” which at least feels like a legitimate attempt at a departure. The same goes for “Love” which, despite the plain title and obvious Neptunes “influence” (read: jack), finds Kelly conveying a range of believable emotions for one of the few times in the whole experience.

While getting out from under the ever-expanding shadow of Beyoncé won’t be easy by any means, Kelly probably could do so if she were willing to experiment more. In reality, her true competitors are the Keyshia Coles and Fantasias of the world anyway, but she doesn’t quite measure up to them either due to a lack of conviction in her performance. Right now, Ms. Rowland is merely okay and as a result, Ms. Kelly is the same.


WWW.ALLHIPHOP.COM

Cassidy: Friend vs. Foe

By Aqua

The beauty of life is the multiple chances it offers. Philadelphia rapper Cassidy has had plenty, and he’s not taking any of them for granted. Over the last couple of years the 25 year old, who first gained notoriety after an infamous freestyle showdown with Freeway, has seen his career go through more drama than the DJ. In the Spring of 2005 he was riding high thanks to his Swizz Beatz produced, smash single “I’m A Hustla,” the perfect set up cut for his sophomore re-up I’m A Hustla. But two weeks before the album’s release in June, 2005 all momentum abruptly ceased when Cassidy turned himself in to authorities amidst an incident that left a man dead and charges that initially included first degree murder. Bail was denied and though Cassidy would beat the murder rap, he wouldn’t be released from prison until March 2006.

Back on the town and recording, hard luck hit again when on the way to a recording session in October 2006, Cassidy received injuries including a cracked skull after the vehicle he was traveling in was struck by a truck. Fortunately, his wounds have healed and citing a newfound spiritual drive—no, he’s not pulling a Mase—and maturity thanks to the trials of his past two years, Cassidy is readying his next album, B.A.R.S., for a fall release. But before doing so the at least twice blessed MC is releasing a mixtape on July 7, 2007 to satiate fans wondering where he’s been. AllHipHop caught up with the Full Surface/J Records artists to check in on the odds that his new album will get his career back on track.


AllHipHop.com: The album was originally called It Is What It Is, why the switch to B.A.R.S.?

Cassidy: That was one of the names I was thinking about calling it, but I don’t like that name. I've always been the person that was known for spittin’ bars. I always been famous for coming with hot punchlines and a lot of bars. And I just did time behind bars when I was in for the murder case. That was a pretty good title to use. Plus, it’s short for Barry Adrian Reese Story—my name is Barry Adrian Reese.

AllHipHop.com: On previous projects, you’ve given glimpses of your past, but is the B.A.R.S. album more personal than the last two?

Cassidy: Exactly, and that’s why I named it after my biological name. Because it don’t got nothing to do with Cassidy, the Hustla, the Problem, ya know, all that’s like characters that were developed after I got in the business. But Barry Reese is the person that I really am even when I’m not doing music. When you go to jail, that’s what they call me, Barry Reese. My first album was called Split Personality to let you know that I had multiple personalities—The Problem, Cassidy and Barry Reese. “The Problem” was supposed to get a chance to do the album [but on] my second album “The Hustla” buried “The Problem” in the beginning of the album and "The Hustla" won, so "The Hustla" got a chance to do that album instead of "The Problem." That’s why the album was called I’m A Hustla. So this album is reflecting another side of my personality, the more serious side. So that’s why I’m calling it B.A.R.S. My fourth album, Lord willing, will probably be called Cassidy, self-titled.

I feel as though everybody got many personalities. You're not mad all the time, you're not sad all the time, you're not happy all the time. Everybody switches and get in different moods, so that’s what I wanted to bring to the table. I’ma bring different songs to the table but one personality might got [sic] the majority of the album.

AllHipHop.com: You were able to beat the murder charge against you, but before that happened, were you prepared for the worst?

Cassidy: I was sitting in jail, so I was getting prepared even if I ain’t want to get prepared. I got faith in the Lord, and I felt as though he was going to pull me through the situation. But, you always going to have your [doubts], you don’t know how it’s going, it’s not looking good. I thought I was going to get bail and get out after a week or two. The trial, they kept it first degree murder, they was denying my bail, it was a lot more people coming up and making statements—it wasn’t looking as good as it was looking in the beginning. Even though it wasn’t looking good from the beginning. At the end of the day I just kept my faith, just stayed in my Bible, stayed prayed up and just humbled myself a little bit and tried to learn from it. I was trying to learn from it and realize the reasons why I was going through it. At the end of the day, I definitely felt as though it might have been a chance I could not get out. That’s with anybody, whether you was guilty or innocent, it’s a chance you can go home or stay. That was always in the back of my mind, but through the grace of God, I’m here now.

AllHipHop.com: Then, you start working on the third album and the accident happens, were you thinking, “Maybe my luck has ran out...”

Cassidy: I don’t believe in luck, I believe in God. I don’t believe God blesses you with things for nothing, you're blessed with those things for a reason. I believe that to the outside world, it might seem like it was my lowest point but I feel as though it was my highest point. In a short period of time, in less than two years, I was able to mature more than a person that done spent 30, 40 years in the street. While I was going through it, it was seeming like it was a negative situation, but now that I came out of it, it was beneficial. Not saying that I would want to go through anything like that again, but I learned so much from it, and it made me into the person that I am now and I wouldn’t want to go back to the person that I used to be, 'cause I love the person that I am now.

AllHipHop.com: Were you this spiritual before the incidents?

Cassidy: I always believed in God my whole life but when I went to jail, I read The Bible from cover to cover. I used to sit down with a lot of my Muslim brothers and have a lot of good, deep conversations. I realized first hand that the money, the stardom, the fame, no matter what you did none of that could get you out those situations but God. I was able to better my relationship with Him, understand Him a little bit more from being in a serious situation like that. I almost lost my life twice. I almost gave my life up to the system and then I almost lost my life in the car accident.

AlllHipHop.com: Due to the nature of the charges your were facing and convicted of, is that going to alter your lyrical content?

Cassidy: There’s no reason for me to really alter my content. I don’t feel as though I’m guilty of anything or have a reason to switch my pitch or change the things that I talk about. The gun talk and the things that I was talking about in my music is things that I actually live. People will say I used to go to a range two or three times a week to bust my guns off. N***as around me, whether they legally carried guns or whether they was illegally carrying guns just 'cause they was getting it in in the streets, that’s what I grew up around.

When I was 10, 11 years old riding around in the car with my god brother, he was carrying around Tech-nines and ounces of work bagged up, back when they used bag it up in vials. I just grew up around it, so that’s all I know, so that’s why I’m able to talk it. But at the same time, I bring positive things to the table too 'cause it’s like that in the world. It’s not all positive. If you come all positive then the people living the negative life gon’ block you out because they don’t feel as though you can relate to them. Then if you come all negative, the people that living the positive lifestyle is going to block you out because they feel as though you don’t understand them. So that’s why you gotta try to blend and get the best of both worlds, similar to what Tupac did. He’d come on like, “First off, f**k your bitch and the click you claim.” [opening line to "Hit ‘Em Up"], but then go “Dear Mama” or “Keep Your Head Up.”

My story, and the reason why n***as respect me, is 'cause I admit my s**t is based on a true story - just like a movie is based on a true story. Sometimes they add things and take things away that make it more interesting. Because if they put it exactly like it happened, it would be boring. That’s the same thing I do with my lyrics, some things I take away because I can’t say it, some things I add because it’ll make it sound crazier. But n***as know that it’s based on a true story and I’m talking about things that I actually experienced, I actually seen, so that’s why it’s so real to n***as.

AllHipHop.com: How much of B.A.R.S. is material from before the car accident?

Cassidy: I recorded a lot of the album before I got in the accident. I actually was mixing some of the records and working on features and things like that. Once I went through the accident, I had to take a break for a long period of time so I didn’t want to come with the same songs that I had from before because I had so much more to talk about. I pretty much went in and did a whole ‘nother album.

AllHipHop.com: Is Swizz handling the majority of the album’s production?

Cassidy: Nah, I love Swizz, Swizz is the best that ever did it, but he working on his album [One Man Band] right now and he working on everybody else. I wanted to mature and put [my] project together on my own. I had Swizz writing a lot of my hooks and making a lot of my beats on past albums, but I wanted to do a lot of that on my own because I got the talent to do it and I got the ability. Plus, Swizz was wild busy and I wanted to take the responsibility in my own hands. Swizz did do a lot of stuff. On the album you’ll probably hear three or four songs from Swizz.

I got over 50 songs, so I’m still gonna narrow it down and figure out which songs is going to make the album so I can’t really tell you which [other] producers is going to make the album cause I’m not sure yet. But you know I got Neo Da Matrix, he’s my right hand man. I got Bink!, I got Hi-Tek, I worked with Cool & Dre, I worked with Scott Storch, I worked with Timbaland, I worked with Dre & Vidal, I worked with Rockwilder, I worked with pretty much everybody.

Before I would just work with Swizz and Neo, and everybody else would just give their beats to Swizz and Swizz would bring the beat to me. I would never have a real personal relationship with too many producers. But now I’m trying to develop my relationships and grow because I’m putting my situation together for my artists and things like that in the future. It takes a lot of pressure off of Swizz, so Swizz can just focus on giving me the hits like he always do and then focus on the other things he gotta do. It’s better for both of us.

AllHipHop.com: Why did you decided to drop the mixtape on 7-7-07, besides it being your birthday?

Cassidy: [Laughs] I mean look, it’s O-7, O-7, O-7. That’s like, classical right there. It’s definitely a special birthday so I wanted to just celebrate, but instead of getting a gift and being selfish, I’d rather give a gift. So I’m giving out seven exclusive songs because the streets need it. I’m not making you buy it, I’m not making you go through a bunch of trials and tribulations to get it, I’m just giving it to you. Take this and listen to it and the street’s dying for it, they need something to listen to. Not only that, it’ll also get me back in the game, get my voice heard, and let people know that I’m back doing my things so they can get prepared for this brilliant album I’m about to drop.


WWW.ALLHIPHOP.COM

BAAAAAAAAAAAAAACK!

bein' djbfreezy is a hard job...so hard i forgot to pay the internet bill lmao...newho...back in effect look for some freshness in a bit...

The Heatmakerz: More than the Movement

By Dynasty Williams

The Heatmakerz are no strangers to change. After developing a form of music described as “crack,” that amassed an almost cult-like following for Dipset, The Rsonist and Thrilla were forced to change courses. The addiction to that “crack” spread far beyond a young, innocent fan base, and into the ears of rabid producers trying to obtain a foot in the door by way of imitation. After compiling a string of album credits for Cam’ron, Juelz Santana, and The Diplomats, the production duo pumped the brakes on production work for the rising crew, and began to provide their services to other artists.

With a progressive sound now described as “aggressive soul music,” Heatmakerz are aiming their proven track record at much larger targets. In an industry where artists often hit a glass ceiling, they are on a new path to surpass their status as platinum producer and enter into the ever competitive executive arena. With a solo rap career from Rsonist on the horizon, and hopes of a solid in-house production deal, The Heatmakerz are eager to prove that their worth to the industry goes beyond a hot track.


AllHipHop.com: What’s up man? Tell me about the mixtape album you have out now...

Rsonist: Basically what it is, it’s just a lot of the Heatmakerz’ artists on one album, and we got some unsigned people. We got Peedi Crack, J.R. Writer, Papoose, Jim Jones. The majority of it is like the Heatmakerz artists like G and B, myself, Dox, Carma.

AllHipHop.com: Why did you decide to do an album?

Rsonist: It was kinda just to get our name poppin’ again. Like, we did a lot of tracks for other artists, but people might forget that we actually produce. Like not just make a beat, but really produce a record. So on this album we really got a chance to showcase that we could make songs as opposed to just making a track for somebody.

AllHipHop.com: Is it safe to also say that this is the Heatmakerz’ attempt at getting into the executive side of the industry as well?

Rsonist : Exactly. This is like a mixtape album. I don’t want people to think that this is like an album. We put this together, honestly, in about two and a half months. What we want to show is that we can actually put out a product that people will like and respect at the same time. But with the right amount of money behind us we can turn our artists into stars.

AllHipHop.com: Are you finding it difficult as a producer to move up to that level of the game?

Rsonist: Of course. It’s just a little harder because anytime you try to step outside of your lane it’s gonna be a little harder. But you know, the more we do it the more it’s gonna become like second nature.

AllHipHop.com: Okay, well you also stepped into a new realm by rapping on this mixtape. What made you decide to go there?

Rsonist: It definitely is stepping outside of my lane. I’m not going to make it seem like I’ve rapped forever. You know Charlemagne, another producer from The Bronx? He came to me and he was like “You know, you should rap.” And I was like “You know that ain’t me. That really ain’t my tone.” He was like, “Nah, you got to think about it, every producer that ever came in the game kinda got stagnated after a certain point. No matter how big your music is, no matter how good you are doing what you’re doing, you still gotta take it to that next level or else you just gonna be stuck in the same position.” He made a lot of sense and I made some songs and the songs were coming out good. Every song I made was coming out better and better.

AllHipHop.com: Do you think that you trying to rap might hinder the Heatmakerz as a production team?

Rsonist: Nah, I think it will hinder me until people hear the music. Once they hear the music, they’ll understand what it is. Like I said, I’m my own worst critic. So if I didn’t sound good on any of the music, I wouldn’t do it.

To me, a lot of producers make the best rappers because they know how they want to sound on top of music; they know how their voice should sound, how they should flow on a certain beat, how the beat should break, and how they should attack it. So you know, if anything, a lot of producers give advice to artists so it only makes sense that you take some of that advice yourself and put it to music and you know, just be true. Like, I’m not coming out on these records talking about shooting people, killing people, things [that are] out of my lane. Anything you hear on the records I talk about is me, so you know it’s authentic. I think people will appreciate it.

AllHipHop.com: How do you feel, personally, about rappers that move into production?

Rsonist: I think some people are made for it and some aren’t. It goes both ways. It’s like a basketball player that tries to rap or the rapper that tries to be a ball player. Some people can do it, some people can’t. Or the rapper that tries to turn actor, or vice versa. It just depends on who’s doing it. You got somebody like Eminem who’s a rapper that, as far as in his movie, did a good job. Ludacris is a good actor, DMX is a good actor. Certain people can do it, and other people can’t. It just depends on who does it. I don’t really want to pinpoint anybody and say, “You know this person, they can't do it,” but like I said, it depends on the individual. Some people got the talent to do both.

AllHipHop.com: As a production team, you guys worked very closely with Dipset. Recently, it appears as if that has fallen off a little. Why is that?

Rsonist: I just think that we both got bigger, company wise. Dipset branched out where they had another six or seven new artists, and Heatmakerz started getting more outside work. I mean, we still work with each other, but as far as the way we used to, like 10 tracks on this album, 11 tracks on this album, it just changed a little because the bigger Dipset got, the more producers started attacking them. When Dipset was brand new a lot of producers didn’t know how big they were gonna be so they just went for the bigger artist. Now that Dipset is bigger, everybody wants a track on the album.

With us, it’s sort of like people know what we can do, and we can always get tracks on a Dipset album. That’s not really a problem. We want to show people that we can do more than just produce for Dipset.

AllHipHop.com: What do you think of their sound now?

Rsonist: I think a lot of their production derived from us, but a lot of people producing for them now, I think, I don’t want to say, have a one dimensional sound. They think Dipset can only rock one way so that’s the sound they give them. I look at the stuff from Diplomatic Immunity, production wise, and I just think that the producers aren’t where they need to be at. That’s just my personal opinion.

AllHipHop: Was sample clearances an issue with you guys moving apart?

Rsonist: We did have problems clearing samples sometime, but that wasn’t really why we didn’t do as much work with them. It’s just that we became more in demand and they became more in demand. We got pulled in different directions. I wouldn’t say the samples had anything do to with it because we did original songs before. “Killa Cam” was an original song. “Juelz Santana the Great” was an original joint. We had original songs when need be. That was just our sound. If need be, we didn’t have to sample.

AllHipHop.com: Do you feel underrated in the industry in light of the amount of hit records you’ve produced.

Rsonist: Of course. I just feel like we deserve our chance like the Cool and Dre and the Track Boyz, and the people who got production deals or label situations. They passed us up for all of that. We never got a label deal or a production deal. To be honest with you, we never even got a song deal. The industry kind of acts like we didn’t put out the amount of records that we put out. To date, we’ve put out 68 records [that have] been in stores. A lot of people think we just did Dipset records.

AllHipHop.com: Why do you think the money doesn’t flow to the Heatmakerz despite creating an entire sound?

Rsonist: A successful sound. I mean it’s one thing to make up a sound, but a successful sound… It’s only a few producers that have created a sound for an artist. You look at the Timbalands, you look at the [Dr.] Dres, you look at the Neptunes. A lot of producers don’t create sounds, they make beats. Think about a lot of the big producers, they haven’t molded a sound, they just made successful beats. It’s one thing to come up with a sound that people know, it’s you when they hear it, that’s something that you can’t duplicate. The problem is the industry looks at producers the way they’re supposed to look at artists. They look at “I’ve never seen him before. I don’t know his face, so I can’t give him this label deal because I don’t know what he looks like.” If I was to jump in every video I did production for, we wouldn’t be having this conversation. I’d have a label deal already.

AllHipHop.com: So are you relating it to just an exposure issue?

Rsonist: Yeah, it’s a popularity contest. It’s not about who makes the better music, it’s about who’s more recognizable. You see Dre, from Cool and Dre, and you know his face. You see Pharrell. A lot of them producers that got production deals, I think it was the Track Boyz that did J-Kwon, you see them in the video and a couple months later they pop up with a label deal. That’s just the way it happens. I’m not hatin’ on anybody, I respect all of them for doing what they did because they had to hustle to get there. But I just blame the industry for not doing their homework.

AllHipHop.com: Is talent enough anymore?

Rsonist: Nah. People don’t buy your CD because the music is good anymore. Years ago they did. People buy your music now because they feel like they know you. Now people will buy an artist’s [CD] because he had a reality show and they know something about him. Like, his mother lives here, and he chills with his brother and sister and he likes to eat this and he does this or does that. Nowadays, having a hit single doesn’t mean nothin’. You could have a hit single and still sell 80,000 your first week. The climate of the game changed. It’s so different the way everything is, the way the industry is, the way TV is.

AllHipHop.com: What do the Heatmakerz have on tap for the rest of this year?

Rsonist: We did three songs on Papoose’s album coming out. We did a couple of tracks on Juelz [Santana] and Lil’ Wayne’s album coming out. I’m going in with Lil’ Wayne on his solo project. I got my project that I’m working on, my solo project. I got Juelz on there, Lil' Wayne on there, I got Jim [Jones] on there, I got Mario Winans on there. We’re just working man. The official Heatmakerz album should be out in the summer or the beginning of fall. Look out for the Heatmakerz in ’07 and ’08, we gonna have a label deal in a minute.


WWW.ALLHIPHOP.COM

young buck...

By Houston Williams

It's been over three months since Buck the World was released to the masses. Young Buck's second album may lack the surging singles of his debut, but his 2007 effort remains a pillar in "album of the year" discussions, with or without strong radio play. While programmers might be duck the Buck, media headlines and rumor mills haven't. Starting with 50 Cent's backing down a peace treaty with The Game in March, now to alleged crew-dissent on stage at recent shows, it appears as if the media is chipping away at Buck vs. 50 to parallel what appears to be Cam'ron vs. Jim Jones.

Buck promises it's not happening.

Instead, the Nashville star clears up the rumors bluntly. While doing so, Buck reveals that he may be following Scarface and Snoop into production duties this year, and he's got the 808's handy. Lastly, the G-Unit superstar discusses why there is an industry-wide sales slump, and how through releasing non-fiction records like "Slow Ya Roll," Buck hopes to bring back good music, and slowly approach his second platinum plaque. Unlike the streets, in an interview, it's never hard to get Buck.

AllHipHop.com: Can you clarify the rumors about what you said in regards to 50 Cent and Vitamin Water recently?

Young Buck: Yeah man, I ain’t said s**t, bro. At the end of the day, it is what it is. But nah, I ain’t said, “F**k G-Unit” at all. I don’t know really where the rumor came from, [or] how it came about; because I ain’t said no parts of "f**k" nothing. Wherever the rumor came from, I’ma clear it up and say, I ain’t say s**t about f**k G-Unit…Vitamin Water neither. I ain't made no money off of Vitamin Water, that’s 50's thing.

AllHipHop.com: Is that where it started? Did you make a comment about that?

Young Buck: I think that maybe where the rumor came from [is] on stage, I said, “50 ain’t gave me none of that four million that he made from Vitamin Water, so don’t ask me for s**t.” But as far as saying, “F**k G-Unit,” nah man, not at all.

AllHipHop.com: Just to clear the rumors up, everything is good?

Young Buck: Yeah, everything 100%, man. I got Cashville Records, I signed the Outlawz, C-Bo, my group 615; that’s the movement for me, you know what I’m saying? My album doing real good, at this point. My s**t is almost ready to go gold.

AllHipHop.com: Where is Lloyd Banks?

Young Buck: That n***a in the gym like a motherf**ker. That n***a like, “Yo bro, I’m coming back; I’m tryna be bigger than 50.” This n***a been working out and in the f**king studio. Banks is good. Banks tryna fall back. He making people miss him so much that when he do come back and the people see the things that they ‘bout to see, they gon really love him and enjoy it.

The Unit - we good, bro. Every good crew has its ups and downs. But the power in the crew is the strength in numbers, and we stick together, through the thick and thin. If you get a gang of false n***as together, you might not have no problems. But you get a gang of real n***as together, you gon' have time for motherf**kers to bump heads, don’t agree on the same thing and all kind of s**t. But like I said, bro, we remain the same n***as that we came in the game as. Throughout all the hate, and all the beef s**t, we still stand in this motherf**ker strong like a motherf**ker. It’s just about getting back into and making good music, and making that [work].

AllHipHop.com: A lot of people want your next single to be “Slow Ya Roll.” What made you write that record?

Young Buck: You know what? The [album is] real life. All those things that I’m saying on that record is actually true, as far as my auntie just finding out she got AIDS; she's locked up, she dying in the pen. S**t like that, I’m speaking the truth. When I say, "They found my nephew, there was no flesh, it was just bone," that s**t is real. So just going through day to day life-real life experiences is what created the record. And just knowing that a lot of times motherf**kers move so fast, that be the cause of they death. So it’s always cool to slow ya roll sometimes. And I worked with Chester Bennington, from Linkin Park, in a sense because, I done noticed that there’s a lot of people from outside of my environment that I come from, which is the ghetto-the hood, that’s in touch with Young Buck, you know what I mean. I like to cater to those that cater to me. Linkin Park’s [audience] is big; it surprised me he was even up to do the record, but he did it. It came out a hit. I actually wanted that to be this single. Straight up and down, I wanted it to be my second single. I fought and I’m still fighting, you know what I’m saying. Hopefully we’ll be able to wrap my record up with that being my third single…everybody's pushing for it, I’m pushing for it. I think it’s a problem clearing the record with they label, but I think the people really, really want to see that record brought to life.

AllHipHop.com: What’s your take on the people criticizing Hip-Hop right now?

Young Buck: Well I think some of our political people are some of the biggest hypocrites that we have in America, like their s**t don’t stink; when everybody’s s**t stink. So they've got to be able to accept an opinion. An opinion is like an a**hole, everybody got one. They can’t judge that life that they lived, to today’s times. ‘Cause times have changed so much. So if you actually don’t have not even no knowledge of really what’s going on in that neighborhood, or where that artist background has really come from, or what that artist has been through in life, it's kinda hard to put a judgment, not on just that artist, but anybody, period. And a lot of politicians that direct their negativity towards that Hip-Hop artist is just mainly all for they opinion.

I think a lot of these political people are bigger groupies also, because they chase that light, chase that camera, and they want to kinda keep themselves seen in the light for always pushing some type of line. Some of the people who said something about Akon probably got his damn CD in they damn car when they leave, see what I’m saying? It’s hard not to. We get outside of the fact of feeling that those people are human beings too. And even if they're not fans of our music; they have nieces, they have nephews, they have young adults that are part of they family that I’m sure don’t agree with some of the things that they say about such artists. I’m here to just put in on they brain to let them know, I represent the political prisoners. I don’t represent the political side of what today represents. Our political people that we have right now, to me, I don’t consider all of them as true leaders. Because some of them is committing adultery on they wives and things of that nature, and then push a line that say you know, tell us what not to do. So until you clean your own s**t all the way up 100%, keep your finger to where it need to be.

AllHipHop.com: What made you sign Tha Outlawz?

Young Buck: I mean, honestly man, it’s always been a whole little connections amongst my whole life with whole Tupac Shakur…I caught that area of music, I’m 26 years old. Me and C-Bo, honestly, had always been good in the streets before I actually got behind a microphone. Once I got into position to start my own thing, he was one of the first ones I stretched out to. C-Bo was 'Pac’s favorite rapper. He always kept that connection with Tha Outlawz after 'Pac’s death, and he was like, “Yo man, Tha Outlaws really want to be a part of what we got going.” It was a no-brainer for me, and we just started to hang, bro, and run with each other. S**t, bro, the connection got real crazy. They be scaring me a little, they be telling me I do certain things like [Tupac].

At the end of the day, it's all about keeping it real. And that’s what 'Pac did when he was here - same thing I want to follow. It just makes my s**t perfect. It’s an honor to f**k with Tha Outlawz….because they was here before me. So I don’t feel like a CEO, man, I just feel like a n***a that got a team.

AllHipHop.com: As far as musically you have a lot of diversity on there. What are you looking for when you pick beats?

Young Buck: I let the music take me. I’m listening for something that can match the feeling of whatever I’m feeling when I go in that studio; because I don’t have raps ready. I’m just going in there listening to the music. It’s like the right music provides the title of the [song], the concept of the record, you know what I’m saying. It’s not nothing particularly that I’m looking for. I just know, if I’m looking for a party record, I’m tryna find something with some 808 [drum] in it. You can’t come to the South without no f**king 808. That’s just a lil' piece of game for all these other artists. You want to get out here and make the s**t shake through the South, get you some 808 in your music.

Actually on the low, bro, I been producing, that’s been my secret game. I’m coming out with it. I produced three, four tracks on my first project that I’m a release, a [Cashville] compilation; it's pretty much all of us. I been selling a lot of tracks for a lot of different artists. I want to kinda of keep it low so I can shock a lot of people when they find out some of the s**t that made.

AllHiopHop.com: What kind of equipment do you use?

Young Buck: I was f**king with a lil' bit of everything. I f**k with MPC 3000, 4000, lot of different sound modules and s**t, Motif. It’s a lot of different things, bro. I’ve been getting a lot of these different drum kits from Sha Money and Dre, too. I been asking a lot of these n***as for they drum kit, know what I mean.

AllHipHop.com: A lot of people are talking about the sales slump that Hip-Hop is going through, why do you feel there is a slump in sales?

Young Buck: I think, honestly, man, that a lot of artists fool the fans, but the fans is not actually fooled. A lot of artists fool the fans by basically putting together these albums that only got one or two records on it, and making these fan go spend that $15, $20 on that album, and it’s basically not worth it. Fans just got back to getting back smart, and that’s when they start resorting to the Internet and downloading s**t, you know what I’m saying?

I think a lot of artists have f**ked it up by putting out bulls**t. And I think, for me, those same fans that go and buy my bootleg, it’s out of anticipation, and then they go right back and buy my album - being that I deliver an album from top to bottom. I really ain’t thinking about sales when I go in there and make an album, I’m just tryna make a strong classical album that’s gonna play here and pretty much forever. I’m consistently going 20-30,000 [units sold] per week, and I ain’t even got to my second single, which is just 'bout to hit.


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