DJ Paul Interview (Three 6 Mafia/Da Mafia 6iX)

da mafia 6ix

Written by Jimmy Ness and originally published at Passionweiss

DJ Paul and Three 6 Mafia’s influence on modern rap music is more prominent than ever. From “Street Goth” being the latest fashion trend to rappers liberally borrowing the Mafia’s iconic rapid-fire flows, screwed vocals and purple drank obsession. Of course the Memphis legends weren’t the only ones to drink cough syrup and rhyme over dark production, but they undoubtedly played a huge role in putting Tennessee on the map and bringing the South to the mainstream.

Founding members DJ Paul and Juicy J helmed an empire after rising from humble beginnings slanging tapes at local stores and schools. The pair met while DJing in local clubs and later brought Lord Infamous, Koopsta Knicca, Crunchy Black and Gangsta Boo into their crew. Paul Beauregard used his passion for horror films to inspire the group’s trademark menacing sound that included references to the occult, heavy violence, drug use and all of the other cool stuff that would make a conservative’s head spin.

Thanks to lucrative distribution deals they released dozens of albums, kick-started several solo careers including that of Project Pat and Lil Wyte as well as making films and clothing. In the mid 2000s members began going their separate ways, which Paul attributes to their sudden fame at a young age, excessive drug use and money disagreements. One of the most classic chapters in Three 6 Mafia’s history is the group beating Dolly Parton to win a 2006 Academy Award for their song “It’s Hard Out Here For A Pimp” off the Hustle and Flow film. They are the second rappers in history to win the award after Eminem. Seeing the awkward expressions on a mostly white audience and hearing the group shout out George Clooney for showing them love is PRICELESS.

After their win the group featured on Jackass 2, Paris Hilton’s New BFF and also had their own successful reality show Adventures In Hollywood, which wasn’t renewed. Around 2009, Juicy J and DJ Paul went their separate ways to concentrate on solo work. If you’re reading this article it’s fair to assume you already know Juicy’s affiliated with Taylor Gang and has rebranded himself for the tripster generation. DJ Paul’s not slacking either, he’s releasing three projects within just weeks – the Clash Of The Titans mixtape with Drumma Boy, the joint Black Fall EP with Yelawolf and the Mafia 6iX mixtape, featuring a re-formed Three 6 Mafia sans Juicy.

I called DJ Paul while he was running around preparing for a well deserved week trip to the Caribbean island Aruba. He was kind enough to give me almost an hour of his time despite there being a million more questions I could have asked. He also seemed more humble and friendly than a lot of other less successful artists I’ve spoken to. Instead of talking about his relationship with Juicy, which you can read about in every other recent interview he’s given, we chatted about his musical beginnings, flamethrowers at The Gathering Of The Juggalos, Pimp C, getting five members of Three 6 Mafia back together and him not knowing what an Oscar was when he first heard the news of their nomination.

Three 6 Mafia is known for rapping about darker themes like horror and the occult, but you actually grew up performing in the church.

Yeah, I did actually (laughs). I used to play church music on the organ like Amazing Grace and different stuff and Lord Infamous would sing it.

Was your obsession with horror films a rebellion against your Christian upbringing?

No, no, no. Hell no. I just liked horror movies. It was nothing rebellious. I just liked horror movies and horror music. I guess everybody does when you think about it. I just probably liked it a little more than other kids.

What made you get into horror?

I don’t know, just as a kid with my sister and family watching Jason and Friday the 13th and all those movies growing up. We never know how we get into that kind of stuff, it could be friends, parents and older brothers and sisters, whatever. My older sister, I know for a fact, was always into scary movies cause we used to watch them a lot with her.

How did your family feel about the dark content matter? Juicy J’s dad is actually a preacher isn’t he?

Yeah, he’s like a missionary so he goes to different countries to preach. But nah, our parents didn’t trip or anything because they know how they raised us. They knew that we weren’t devil worshippers. They knew we were raised good. It was just a show you know, like Robert Deniro or Al Pacino or something like that. Well maybe Robert Deniro, Al Pacino might really be bad (laughs). But you know it’s just for show man.

Were there any protests or people trying to stop your shows because of your demonic lyrics?

No we never had a problem with any of the weird shit that follows with the cult or any of that. I guess the people that are into protests and stuff like that never got a wind of us or our songs because our songs that are on the radio that every person hears don’t have anything like that. Those are the album cuts.

Did you ever get curious and actually experiment in the occult?

No, we just made those songs about it, but it was nothing that we were into. We weren’t devil worshippers or anything like that for real. We just made records.

You were DJing around local places like Club 380 and that’s how you met Juicy?

Yeah Club 380 and some other places, that’s the first place I DJed at back in the day. He was a DJ as well, in some of the other clubs around Memphis. I didn’t want to be a DJ, I wanted to be a producer but to get into production I had to start Djing first to kind of learn the ropes on how to use the equipment and work from there.

For those who don’t know, tell us about the influence of DJ Spanish Fly?

DJ Spanish Fly was a big influence, him and the late DJ Sonny D who just passed away from a car accident about a month ago. I still talk to Spanish Fly a lot, that’s like my brother – we got the same birthday as a matter of fact. He was a huge DJ in Memphis, he’s been super super known. The thing that made Spanish Fly stick out so much is that he was the first DJ in Memphis to mix in his own songs, so that’s what made him so popular. That’s how we all got started. We would mix in our own songs in the club, especially with me. We would take our songs and mix them in between other people’s hot songs so I would play NWA, DMC, Public Enemy whatever and slip in one of my records.

Why did you decide to pursue music?

I grew up with it in the household and my family. My uncles had a popular gospel group and they used to teach me a lot about music. I was just always a fan of it, you know Michael Jackson, Prince and all that. Then earlier rap like Public Enemy, Eric B and Rakim, LL, 2 Live Crew, Geto Boys.

How were you getting your music out there early on?

I was selling cassette tapes at high school. Selling a whole lot. We were making thousands. We were selling them for nothing but $4.00 but we were selling so many of them. Selling thousands and thousands of tapes and making a lot of money. Then we took that money and put it behind going into the studio to make a real album and we put it out through Selekto, and that was Mystic Stylez.

I heard you have quite a broad taste in music.

You know being a producer and a DJ, you have to listen to everything. Especially being a producer, you got to have a broader ear with your production so I listen to everything. A lot of 70s, a lot of 80s and even some 60s. I listen to a lot of techno, EDM, dubstep. I love dubstep. I don’t listen to a lot of rap that’s the funny part about it. I listen to a lot of rock as well. Duran Duran is my favourite band.

You also sample Portishead on a few songs?

Yeah, I listen to everything man. That’s a great band.

Willie Hutch is another one of your favourite artists, plus you got to work with him?

Yup, we actually brought Willie Hutch to our studio back in the early 2000s. We redid one of his songs called “Mark of the beast” and we never put it out, but it was a great record though man. We got the chance to work with him and shoot the shit and we sampled him a lot throughout and paid him off the records. We probably sampled him on two records off every album we made and the one that hit was “Stay Fly.” He passed away like five days after that record came out and that record was huge. I had two samples from him on that album as well. That song sold I don’t know, maybe 3-4 million copies or so.

What is the music that people from Memphis refer to as “Pimpin?”

Pimpin is the 70s music, the soul music and all that. That’s what all of us grew up on, we call it “Pimpin’” in the south. That’s the straight good stuff.

How is it playing at the Gathering of the Juggalos?

Is that a crazy place to perform? Hell yeah! Craaaazy. Mad house. I love it though, it’s fun. Man I saw a guy in the audience with a flamethrower shooting fire in the air. It was fucking crazy. I was like “what the hell!” I got a little nervous man.

You’ve hung out with the Jackass crew and filmed a few skits with them. What was that like?

They are my guys man. They are just practical jokers. They some wild dudes, I like hanging with them. I was asleep and knocked out drunk, and they walked in with two trashcan tops and started banging them together. I think I didn’t wake up straightaway, but after a while I finally did. It was funny. It’s on Jackass 2.5.

Why did you decide to make the movies Choices 1 and 2?

We did it just for the fun of it. We wanted to make something like Death Row’s “Murder Was The Case” but funny, not super funny, but a little funny. We went in and made a 20 minute version of Choices and it came out good so we started thinking “man we ought to make a full movie out of it. Let’s put a little money behind it.” So we went on and made the full length one and it came out and it was double platinum in DVD sales and it did really great so that’s when we decided to make Choices 2 and go from there.

You’re also quite into cooking. Did someone teach you?

Nah I just learned it when I moved out of the house and started living on my own. I had to learn how to cook because I didn’t have my mama cooking for me anymore. So it was cool man, just having a chance to do that.

How’s your range of BBQ sauces and seasonings going?

Yeah, it’s selling pretty good. It’s not even in stores, but we sell a lot of it online. We’re trying to get it into stores once I can sit down and have a chance to focus on it a little more.

Tell us about the Sizzurp drink company you’re involved in?

It’s a liquour. It’s Sizzurp liquor, but yeah I’m part owner of that.

Does it taste similar to the real thing?

Oh nah, it doesn’t taste anything like it. One of them is a purple wine, one of them is purple champagne, one of them is a purple brandy.

Cam’ron and Jim Jones are also involved?

Well what happened was we made the song “Sippin on some sizzurp.” Then Cam’rom and Jim Jones went to a liquor company with the idea then made a liquor called Sizzurp. That lasted a couple of years, then the company went out of business because I think some inside guys weren’t getting on or whatever. They closed it down for about a year, then when they brought it back they asked me to be a part of it and I came in. I’ve been knowing them for a long time, they real good guys.

Speaking of “Sippin’ on some sizzurp,” what was Pimp C like in person?

He was the best. He was super super cool man, and a real real good guy. Rest in peace to him you know, he was my brother. We did a lot of stuff together back in the day. He was real funny man, he spoke his mind about everything. He wouldn’t hold nothing back, everybody knew that about Pimp C. He specialized in that.

When he passed away, did that put you off drinking lean?

Well you know it was never proven that was what he passed away from, but I had already taken a break because I had seen a lot of people that was getting sick from it.

You’ve said that drugs and all of you being a young age was part of the reason Three 6 Mafia broke up the first time around?

Between being young and making so much money at once and drugs and alcohol. Man that’s an explosion just ready to happen so it was bound to happen that way.

Do you still party as hard?

I party from time to time. But not like THAT. That was ridiculous. I still get down. Back then it was seven days a week. It hasn’t been seven days a week for a while.

Wow, did you feel permanently hungover?

We weren’t even really that hungover because we never went to sleep. We just stayed awake so when you stay awake you don’t get hungover.

How hard was it getting everyone back together for the Mafia 6iX project?

It was easy man, all of us were still friends for the most part. The only people I wasn’t really talking to were Gangsta Boo and Koopsta Knicca, but I had talked to Crunchy Black and Lord Infamous is my brother for real so we were in touch with each other. He was talking to Koop and Crunchy was talking to Boo and I just told them to get in touch. We talked on the phone and we just hit it off and were laughing together straight away. We went in the studio and did like 40 songs in three days.

You’ve been really busy lately. Da Mafia 6iX project, the EP with Yelawolf and your joint mixtape with Drumma Boy. Do you have anything else coming up?

Oh yeah, we released the Clash Of The Titans mixtape, which is doing real good so make sure you all check that out. Everybody loving that and um… in music there’s nothing else I’m working on. Shit I just did three projects in a couple of months that was a lot right there. Actually Clash Of The Titans I’ve been working on for a long time but I’m releasing all three of them in a month so that was a lot of work. I’m going to take a break for a week then go in and start working on this Yelawolf album. Trying to get that tight, as tight as I can get it, then after that I’m going to start working on Da Mafia 6iX full length album.

You recently released a five track EP with Yelawolf called Black Fall. Why did decide to work together?

We got connected when he came to do a feature with Da Mafia 6ix for the single “Go Hard” and he was listening to some of my beats that I was playing in the studio that had rock music in them. He was like “I always wanted to do a project with classic rock mixed with rap, and I think you’d be the perfect person to do that with.” I was like “cool, let’s do it. “ So I started sending him tracks and he knocked them out in like three days, the whole project.

Are you guys going to work on a full length?

Well, he’s got an album coming out next year called Love Story and I’m going to do some production on that.

When you won an Academy Award in 2006 you weren’t even sure what an Oscar was?

Yeah I wasn’t. It was early in the morning and Juicy woke me up and told me we were nominated for an Oscar. It was so early I was just like “oh really, ok cool” and went back to sleep. Then I was just lying in bed thinking “what’s he taking about?” Then I Googled it and I was like “oh shit, it’s the gold man” and that’s when I called him back. We were still living in Memphis at the time and we went to LA and had the meeting with the Academy. There are so many rules that they make you learn before you can even take your place in the Academy Awards.

Like what?

One is if you win, you can’t sell the award. If you do sell it, you have to sell it back to the Academy. I think it’s worth like 2 million dollars or whatever. You have to sell it back to them and it just goes back in the museum.

You damaged your Oscar statue?

I was partying and I bumped heads with Frayser Boy’s one. So now mine has a little scar on its head, it’s real small and if you look closely you can see it. I’m probably the only person with a Scarface Oscar (laughs). 

I bet you partied hard that night. 

Actually to be honest with you, I didn’t party hard because I was too nervous I would drop it or something because I didn’t have a bag to put it in. I didn’t party too hard, I just had a couple of little wines and that was it. I wasn’t on my usual vodka and all that man.

Noah Goldstein ( Audio Engineer for Kanye West, Jay - Z, Nas, Ryan Adams) Interview

kanye west audio

By Jimmy Ness and originally published at Passionweiss.

Since graduating from Philadelphia’s Temple University in 2006, Noah Goldstein has engineered, mixed and occasionally produced for Nas, Jay-Z, 2 Chainz, Snoop Dogg, Patti Smith, The Mars Volta and Ryan Adams.

But his most interesting client might be Kanye West, who he has worked closely with since 2010’s My Beautiful Dark Twisted Fantasy. He was there when the tracks were laid down for Watch The Throne, Cruel Summer and most recently Yeezus. It’s his responsibility to protect material from leaking and Jay-Z even shouts him out on “Who Gon Stop Me” during his final verse.

Due to privacy obligations regarding the recording process, he was unable to answer any questions about the making of Kanye’s albums. Noah only gave this interview hesitatingly, as talking about any of the artists he works with could jeopardize his career. Luckily, we did still find plenty of stuff to discuss: his love of 2 Chainz, David Bowie quotes, recording with Nas and his thoughts on the role of the engineer.

Is it true you decided to get into this business after seeing Dr Dre on Behind The Music when you were 17?

Yeah, that and I was a DJ for a long time. Since I was 16 until about 25, I DJed. I was always into music and when you DJ it sort of becomes part of you. You start listening to the music really closely and finding the details in it and reading about your favourite records and how they were made. There’s a lot of things to learn. It was just like, I want to make records man. 


Tell us about the early days working in West Philly, I heard those were pretty rough times.

It was, it was. I mean basically when I started I was like 19. When I was engineering, I got my start in a studio in a really rough neighborhood and it was not uncommon to stop the track and hear gunshots on the mic. But it wasn’t all bad either. It was a great learning experience and made me realize how there were so many different facets of the music industry. I left there and moved to this other studio that was much more rock based and it was a really nice place, very comfortable and that was how I started to learn to make more proper records. Then I left there and moved to Iceland for a little while because I was really into Bjork.

After interning in Iceland you got a job at the famed Electric Lady studios in New York, built by Jimi Hendrix. How was that? That’s an amazing place to start out.

Exactly you just said it, amazing. I got super lucky getting in there. It’s really hard getting a pay-check in a New York studio.

How was working with Patti Smith when you started there? That’s such a big start, you must have been nervous.

Oh fuck, yes. For real. Patti Smith man, come on that shit is crazy. That was the first session I ever did at Electric Lady, I had never been in there before. So I got hired and during my interview while I was sitting in the studio he said “I’ll give you two weeks to get acclimated before I put you on a session” and “I’m like okay that sounds great.” Twenty four hours later he was like “I’m hiring you but I can’t give you that time, I need you here in the studio for the Patti Smith mix session.” So I’d never been in the rooms before ever, it was completely new for me and working with somebody like her – she’s like a punk rock goddess. For me, I love Patti Smith’s music so I was super amped. I got in and Emery Dobyns this engineer, super awesome guy, he was like a year older than me and made me feel like everything was cool. Every time I was fucking up he was like “Nah it’s cool, I got it don’t worry.” She was like the nicest person ever and she was also very tough, just how you expect even though at the time she was 60. It was nuts, but it went really well. I would work with Patti again for sure.

You went from Temple University to working with some of the world’s most famous artists in just six years. How does that feel?

Oh man, what can you say? Living the dream, you know.

Tell us about the first time you recorded with Nas.

That was cool. Nas was like one of my all time favorite artists. He was an extremely nice dude and extremely skilled on the mic as everyone knows. It was a super chilled session, I never really get nervous when I’m working because that doesn’t really help with the session to be nervous, but I was definitely like “holy shit, it’s fucking Nas.”

What was it like recording something as racially charged as the Untitled album? Was there tension in the studio, how was it being involved in making a project like that?

I didn’t work on a lot of the album. I worked more on the mixing and everything toward the end. But I’d say when you are in a situation like that, everyone understands what the message is and everyone that’s going to be in that room is open minded enough to appreciate it. There was no tension in my opinion because everyone there is about the cause.

You’ve worked with Jay-Z and Nas, two of the most respected MCs of all time. What were the differences between their sessions and how they write?

You know what, I should not answer that one because that would be disrespectful of their process for sure.

I read that to stop any album leaks, the draft versions of Watch The Throne were kept in fingerprinted copies locked in suitcases?

(Laughs) somewhat true. Not entirely true, but we kept them close for sure.

Were you the main person in charge of looking after the album? That must have been a 24 hour job. Were you nervous?

I mean, everything in the music industry is a 24 hour job. Was I nervous? Yes, but at the same time I look after files for every client that I work with. Yes, it was incredibly demanding and I really need to do a good job, and I did the best I could. It’s also like once you’ve worked in this business as an engineer, that’s part of your job – looking after people’s files and making sure nothing gets out to the best of your human abilities.

You worked on 2 Chainz’ album Based On A T.R.U Story and I heard you think he’s one of the best rappers around?

Ah he’s super fucking cool man, I love 2 Chainz. That’s all I can say about him, I love 2 Chainz. He’s the shit. I appreciate his raps. I just think he’s super clever. I like his style.

What’s your favourite 2 Chainz song that you worked on?

I gotta go with the one I worked on the most “Birthday Song.”



What do you think of the video?

Fuckin’ hilarious, it’s amazing. You can tell in his videos he’s got a sense of humor, definitely.

What’s he like as a person?

Absolutely nice guy. Hilarious. I don’t know him super well so I don’t know if I should comment on personalities because I don’t know him like that, but I do know him well enough to know that he’s very funny and very nice, at least to me. Cool guy.

How was working with Ryan Adams?

Man, Ryan Adams is the shit. I loved it, we had a really good time making Cardinology. It was really fun. I’ve talked to him since then and he is like a really really good guy. I haven’t spoken to him in about maybe a year, we kept in touch for a little while after that record was over, but you know I moved into a different genre. But yeah, one of my good friends works with him sometimes.

You’ve done a lot of pop/rock and rap music, are there certain principles you take from one and use with the other or vice versa?

You know what, there’s like one quote I know that my old boss Phil told me. If not I’m mistaken he told me a story and it was David Bowie who said it to him, and it’s seriously like the best principle. It is “Turn up the good shit, turn down the bad shit.”

How creative can you be as an audio engineer? Are you essentially just following orders or is there room for creativity?

I just think it depends on the people that you’re working with and how much they trust your instincts and what their doing, and what they’ve created. So I think it really does depend on your client, if people are more hands on or they just want you to be the technical guy that gets shit done. It really varies between client to client just how much you do.

Ali from TDE is earning a name for himself and Kendrick Lamar has shouted him out on several records. Do you think there’s room for audio engineers to get a little bit of recognition or do you think they’ll always be the silent partner?

I think more so now than before, engineers are kind of being noticed more. Maybe because there’s so many people that record in homes and what I gather is that people that record in homes have realized that it’s not easy to make records that sound the way they do on the radio or like their favorite album. So when they are sitting there trying to do it themselves they realize that it’s a difficult process. It’s something that takes practice, work and dedication just like anything else you become good at it. So I think that’s why we’re hearing how Drake shouts out 40, Kendrick and his engineer, even 2 Chainz and his engineer KY, Jay and Young Guru who is an amazing engineer. To answer your question, I think there’s more room for engineers to be in the spotlight but at the same time, most of us don’t have that kind of mentality. We’re not looking for that. Hence the reason, I don’t really care about doing interviews for the most part. I’m not really looking for it.

It’s more about doing a good job?

I don’t really care about being in the spotlight, it’s always been about the music. I just want to make the best music possible, that’s it.

Jay Z also shouts you out on “Who Gon’ Stop Me” doesn’t he? [“Extend The Beat, Noah”]

Yeah, that was cool.



Did you actually extend the beat, was it planned?

I did extend the beat earlier. It was planned.

Why is your production often uncredited?

It’s not about getting the credit as long as the song sounds good.

Obviously you’ve worked with a lot of big names is there anyone you would have loved to work with or that you see as a musical idol?

Oh man, I wish I could have worked with Otis Redding when he was alive, that would have been awesome. I’m open to a lot of different things. I love all kinds of music and I’m really happy where I’m at right now. I’m not looking for other people, I’m really happy with what I’m doing right now.

Do you have a favorite song that you’ve worked on?

Oh man, that is a hard question. I don’t know, I don’t know. That’s an incredibly difficult question to pick one song. I don’t have one particular favorite in reality. I like lots of different ones for different reasons. Any song that I’ve worked on pretty closely will remind me of a moment in time. It might just remind me of something that happened at that moment so it will be sentimentally my favorite. I don’t know.

When you did the soundtrack to The Man With The Iron Fists, did you work directly with RZA?

Briefly, yeah. He was a really nice dude to work with and it was crazy meeting him for sure. He’s one of idols. I mean Wu Tang is my favorite rap group of all time. I’ve also worked with Raekwon, who was also the shit. I mean come on Cuban Linx!

You worked with Big Sean early in his career and now recently too. How do you think he’s changed as an artist?

I think every artist, Sean included, as they keep working and especially when they start performing more live that’s when they start coming into themselves. Honestly he’s always been awesome. I think Sean’s a great rapper, he’s a great personality and super charismatic. I think he’s only getting better. With performing live, his shit is tight now, not that it wasn’t before but he just keeps improving.

Does each person you work with write completely differently?

Yeah, to each their own you know. Each person has their own process and we just try to respect that process as much as possible.

Discovering Mobb Deep's The Infamous


mobb deep beef
Here’s the first part of this feature I organized for Passionweiss. 

No matter how much of a music nerd you are, there are albums that you’ve inadvertently skipped. Whether it’s due to age, oversight, or just plain ignorance, even classics sometimes slip through the cracks. “The Corrections” is a recurring feature intended to remedy this oversight. The idea is simple: the Passion of the Weiss staff writers listen to an album they should have heard but somehow haven’t, and write about the experience of encountering it for the first time in 2013. 
  
“An eye for an eye, we in this together son, your beef is mine.” Modern day Mobb Deep view their friendship much differently than their younger counterparts did on their 1995 classic The Infamous. Havoc and Prodigy have been fighting since last year, but recently “buried their differences” to capitalize on the duo’s 20th anniversary with a new tour and album. Havoc was the most public with his anger and recorded a diss track as well as claiming that Prodigy had sex with other inmates while in prison. As Bun B said on Twitter, some things you can’t take back once you’ve put them out there.

Not everyone will admit it, but many music fanatics have a gap in their knowledge – that one album they never got around to hearing and find a way to avoid when it comes up in conversation. For some unknown reason I’d never listened to Mobb Deep’s early work. Illmatic, Enter the 36 Chambers and Ready to Die were close friends of mine, but me and the Queensbridge duo had never been formally introduced. This is strange considering how intertwined these four groups are. Nas and Havoc went to school together, Mobb Deep toured with Biggie and they frequently collaborated with Wu Tang.

My twisted perception of Mobb Deep was as squabbling brothers rather than legendary East Coast pioneers. I incorrectly considered Prodigy, now 38, to be a has-been who was eternally bitter over former rival Jay-Z’s success. He couldn’t seem to recover from Jigga putting pictures up at Summer Jam 2001 of him dressed as Michael Jackson. Instead it appeared that he pacified himself by pretending Hova was a member of the illuminati, rather than just a smart businessman.

P’s output with producer Alchemist is solid, but so is almost everything the former Whooligan is involved with. Mobb Deep’s work with G-Unit was uninspired and nothing I heard stood out as particularly special. But in 1995, Prodigy and his partner Havoc made one of the best albums I’d never heard.

Kejuan Muchita (Havoc) met Albert Johnson (Prodigy) at 14 when they attended the High School of Art and Design together. The duo formed a crew called the “Poetical Profits” and after changing their name, released a debut album at the age of 19. Juvenile Hell flopped commercially, partly due to their label not putting any marketing behind it. When Mobb Deep tried to make a second album, Havoc claimed in a 1995 Ego Trip interview that producers had started sending them throwaway beats. “They probably felt like, Yo, Mobb Deep – they kinda weak. We was like, fuck it man. I ain’t gonna stop… Ain’t nobody stopping my show.” Havoc, who had minimal beat making experience, was forced to produce the majority of their entire sophomore record. The duo even considered forming their own label if their second project flopped. Mobb Deep were backed against the wall, but determined to succeed and The Infamous was their stunning counter-attack.

Unlike other rap albums that give the listener a respite from debauchery with a conscious song or r&b track, The Infamous shows no remorse. The angst of two teenagers being almost forced out of the industry and trapped in the cycle of poverty fuels the album’s hardcore subject matter. Havoc compares himself to the grim reaper on “The Start Of Your Ending” and Prodigy has no mercy for anyone who struggles with completing their prison time. From punching your nose bone into your brain to shooting at women, their nihilism is relentless.

On the outstanding “Shook Ones Part 2,” P informs the listener that “I’m only 19, but my mind is old” because of everything he`s lived through in the projects. However, just a few lines later he claims “It aint nothing really, hey, yo Dun spark the philly.” Mobb Deep were youths who had given up hope of change, they understood the hopelessness of their situation and embraced it.



Hav produced the majority of The Infamous and his rugged beats suit the album’s portrayal of their unholy lifestyle. If you’re a rap fan, you already know their stripped down sound is typical of East Coast rap in the 90s, but it works especially well here. The lack of complex production leaves room for the duo to make their threatening presences felt. This album doesn`t have the immediate appeal of catchiness, but as you hear more captivating narratives from the MCs involved it grows on you. Havoc’s beats also sound similar to RZA’s early work, which is high praise considering he’s one of my favourite humans. Q-Tip was reportedly heavily involved in the album behind the scenes and with his guiding hand, it’s probably no coincidence this is their magnum opus.

The Mobb are also joined by a small, but formidable list of guests. Nas retains his stellar 90s form on “Eye For An Eye” and his flow is impeccable. “New York metropolis, the Bridge brings apocalypse, shoot at the clouds feels like, the holy beast is watching us.” He recorded two version of this verse and it would be a safe bet to assume they were both godly. Nasir’s also joined by Raekwon, which makes the track a kind of prelude to the classic “Verbal Intercourse” off OB4CL. Rae returns later in the album with Ghostface Killah for “Right Back At You,” and my 90s rap nerd checklist is complete. Q-Tip also shows up to rhyme about personal vices on “Drink Away The Pain,” but other than the occasional verse from Mobb affiliate Big Noyd, Havoc and Prodigy solely run the show.

The duo kept their rhymes simple in comparison to Big L, but they both focus almost entirely on hardcore crime narratives and had no issue with playing the villain. Mobb Deep is also obsessed with beef. At every chance, they warn other crews not to mess with them and reiterate they are only loyal to the Mobb. Prodigy spends over two minutes threatening rivals on “The Infamous: Prelude.” He also disses Redman and Keith Murray, for their “crazy space shit,” which resulted in Murray later punching him in the face. At the time of recording, Mobb Deep were in a zone where their only concern was their own success. Prodigy thought both B.I.G and Wu Tang were cheesy when he first heard them, and he even believed Biggie had stolen some of his lines.
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The duo’s hostile style led 2Pac famously raging against them on “Hit Em Up” where he mocks P for having the Sickle Cell Anemia disease. While the two MCs withstood attacks from people outside their circle, their internal beef hurt them more- at least as far as first impressions go.
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Mobb Deep have been rhyming together since they were 14 and close friends often fight like brothers, but airing out dirty laundry is never a good idea. This is an excellent album which has aged well considering it’s 18 years old, and it’s a shame to avoid such great work because the MCs involved have let personal disagreements taint their image. There’s something to be said for protecting your legacy. Thankfully, the Infamous remains indelible.


No matter how much of a music nerd you are, there are albums that you’ve inadvertently skipped. Whether it’s due to age, oversight, or just plain ignorance, even classics sometimes slip through the cracks. “The Corrections” is a recurring feature intended to remedy this oversight. The idea is simple: the Passion of the Weiss staff writers listen to an album they should have heard but somehow haven’t, and write about the experience of encountering it for the first time in 2013. - See more at: http://passionweiss.com/2013/07/30/the-corrections-mobb-deeps-the-infamous/#sthash.xgu7JAh7.dpuf
No matter how much of a music nerd you are, there are albums that you’ve inadvertently skipped. Whether it’s due to age, oversight, or just plain ignorance, even classics sometimes slip through the cracks. “The Corrections” is a recurring feature intended to remedy this oversight. The idea is simple: the Passion of the Weiss staff writers listen to an album they should have heard but somehow haven’t, and write about the experience of encountering it for the first time in 2013. - See more at: http://passionweiss.com/2013/07/30/the-corrections-mobb-deeps-the-infamous/#sthash.xgu7JAh7.dpuf

Wu Tang Interview - U God

By Jimmy Ness and originally written for Passionweiss.

Lamont Jody Hawkins is better known by his rap alias U-God, but it’s the “Four Bar Killer” nickname that has defined his career. Wu Tang’s mastermind RZA treated each member of the iconic group like a chess piece and used their individual strengths in a specific way while recording their early work. Unfortunately for U-God, this meant that his gruff voice was used sparingly and he often had to make the most of spitting a quick four bars before it was someone else’s turn.

Hawkins, who never had a fully produced RZA solo album like several other members, has often expressed his bitterness at being delegated to being a pawn in the Wu strategy. He left the group in 2004, recorded this documentary, and attempted to sue RZA for $170,000.

However, childhood friends often fight like brothers and the members have reconnected. U-God rejoined Wu Tang shortly after leaving and his 2009 solo LP “Dopium” was well received. Hawkins also released the new album, The Keynote Speaker on July 23, while Wu Tang is embarking on a 20th Anniversary tour during the next few months. 

Despite his reputation for a bad temper and history of being unspoken during interviews, U-God was relatively guarded over the phone and he gave many one-word answers. However, we did chat about his introduction to rap, being around Ol’ Dirty Bastard, stepping away from the “Four Bar Killer” title and of course the new Wu Tang album.

When you first got started you were beatboxing for Cappadonna?

Yeah that’s true. I’m a superb beatboxer. Superior beatbox specialist heh heh. I still do it every now and then.

Who is Scotty Wotty? He’s on some of your most recent solo work and Ghostface famously mentions him on “Nutmeg.”

Well, Scotty Wotty was like my mentor in rhyming. He knew me since I was a baby, he was the first dude in the hood who was really nice, who was close to us and could really rhyme. I came and got him back, came and found him and dug him up and put him out there. But you know, he’s still got it.

You also knew Raekwon since you were children and your parents were friends?

Yeah, his mother and my mother lived in the same building in Brooklyn, East New York. We all migrated over to Staten Island at about the same time.

Is it true you were playing with a loaded gun and nearly shot him when you were kids?

(laughs) I can’t believe you said that man. Yeah, yeah little kid stuff. Wow, I can’t believe ya’ll are still talking about that.

Your uncle helped introduce you to rap?

He used to go to Harlem World and bring me back little tapes of the battles that were going on back at the stage when I was a little kid, and you know, kind of got me into hip-hop.

You went to jail for almost three years around the time that 36 Chambers was being recorded, but before that you put yourself through college for a few years off drug money?

That’s right. I studied Business Management.

Was there a point during Wu Tang’s earlier years, where you suddenly thought “wow we’ve got something special?”

Yeah you know, in the beginning when we all started doing it. It wasn’t when we blew up. I already knew what my brothers were capable of doing before we became Wu Tang. I had a pre-determined, pre-meditated situation where I already knew. It was like a business.

There’s an interesting quote from you where you said “I can talk about Wu Tang, but don’t let me hear anyone else talk about them. That’s my family.”

Exactly (laughs) no comment on that.

ODB remains one of the most unique characters that has ever existed in hip-hop. What was it like being around him?

Well you know that’s family man. He might be Wu and ODB, and wild and stuff, but to me that’s my brother man. It ain’t nothing. It’s like Meth, that’s my family too but people be going crazy when the see the dude, and I be like tsk maaaan that’s my fam. It’s like he’s special, but he’s not that special like ya’ll would see him. But I love my brothers man.

Looking back on your career, do you have anyone who you are proudest to have worked with?

I’ve worked with a lot of different people… umm Rick Rubin, a lot of different people. We met so many good people, it’s hard to even say. You know what I mean? Well, Issac Hayes. He’s a good guy man, quiet, keeps to himself. People are human beings you know. People are just regular man.

You’ve been known for having quite a wild temper, do you think you’ve calmed with age?

Yeah, yeah man. I’m not the only one that’s like that. Don’t make it sound like I’m the only bad guy. I wasn’t the only bad guy, stop making it seem like I’m the only one that’s crazy like that (laughs). I wasn’t the only one.

Your writing style has changed over time. At first your style was quite straight forward, then around the time of Wu Tang Forever your style was a bit more abstract, a bit more slanged out. And now it’s gone back to being how it was originally. Were you making these changes on purpose?

Yes, yes I do change my style up because I can’t stay the same, plus my attitude changes with my style. My process is kinda crazy man. I go through a lot because I sit still, I meditate. I don’t know, I use the lower levels of my brain. It’s just different.

You’ve spoken a lot about how you feel you are quite underrated, do you feel like now is your time to shine? Dopium was well received, and now you’re coming out with Keynote Speaker?

We’ll I can’t tell which way things are going to go or what they are going to lead to, but when I came up with “Keynote Speaker” that’s exactly what I was saying because I’ve basically come to the forefront, to step to the podium and talk to you. So you know, whatever happens happens. People like good music – they gravitate toward it. They do – they do, they don’t – they don’t, but this record right here is my Illmatic. So this is what I’m doing right now. I’m not the four bar killer anymore. I used to be, but that’s not what I’m about no more.

Tell us about the track “Black Shampoo” off Wu Tang Forever, it’s definitely a unique song.

People tease me about that record, I get mixed reviews. I get laughed at. 

A little bit of all of the above, but how do you feel about the track?

It definitely shows a different side of U-God. You switched your style up quite a bit on there. 

Okay…

Of course I have to ask about the new Wu Tang stuff, do you feel like you guys can make a full comeback with a solid record?

Well, we gon’ try baby. We gon’ give it our all.

What about the production? Because not everyone was happy with the way that 8 Diagrams turned out.

Well we going to figure it out when we cross that bridge, you know what I mean? Hopefully it will come out good and we can be happy with it.

Caninus - The Grindcore Band Fronted By Two Dogs

grindcore

I wrote about this hilarious band with dog vocalists for Vice/Noisey.

Caninus believe true metal singers walk on four legs and take a shit on your lawn without asking. The New York grindcore band has recorded three albums with dog singers because a pit bull’s bark is more brutal than anything a puny human could muster. They’re not the only ones who recognize the power of animal vocals either. There’s death metal band Hatebeak, who are fronted by an African Grey Parrot named Waldo, as well as YouTube videos of metal monkeys, roosters and cats

Female duo Basil and Budgie acted as the frontmen (or frontdogs) of Caninus until the tragic passing of Basil due to a brain tumor in 2011, and the band is recording a new album in her honor. But the dogs aren’t just barking for tummy rubs, their music has a message. The group are avid animal rights activists and promote veganism, adopting homeless pets and protest pitbull misconceptions. Their song titles include "Bite The Hand That Breeds You," “Locking Jaws” and "Fuck The American Kennel Club.” 
The sweet death barks of Caninus will either send a shiver up your spine or tempt you into humping your neighbour’s leg, and both of those are good things. I spoke to guitarist Belle Molotov about rumors that Susan Sarandon is a fan, their split EP with Hatebeak, Richard Christy of The Howard Stern Show joining the band and if the dogs have ever performed live. 

How did the idea come about to use dogs as your vocalists?
 
We were all fans of grindcore and death metal bands, and we noticed one day that our dogs could growl with the best of them. We learned how to safely get them to growl and bark along to the music and Caninus was born. We got a lot of backlash that we were actually recording the dogs fighting but that's bullshit. Hasn't anyone seen the Husky that can say "I love you?"

Do you find their voices more powerful than humans?

Hell yeah. They were born to do it and the intensity is there and the dogs have an important message to get across. They can be just as uncooperative as human singers as well and can be total divas.

How did you get them pumped up to perform?


We do lots of calisthenics - we practice "give me paw", "rollover", "take a bow" and give them lots of treats. Then the rawhide comes out and the vocals just start flowing naturally.

Has the band ever played live?


There are rumors of live shows and we have been on a stage with the dogs during a live show. No one ever knows when we will play and it always has to be a surprise.

Do the dogs ever listen to the music? How do they respond?

The dogs always perk up when they hear the music and especially the vocals. It's better to see the reaction of other dogs listening to Caninus. It's like they get a look on their face like "I know what they're saying" and they get all riled up. There are some videos on YouTube of dogs listening to Caninus. Look them up.

Tell us about the concepts behind your songs.


Most of the songs concern issues that pit bulls face today. They are the most misunderstood and abused breed out there. The lyrics give the dogs' perspective on all that they face as pit bulls and as dogs. The dogs sit down and try and explain to us what they want us to say and we try our best to put it on paper.

Could you tell us about some of the other activism you're involved with?

Budgie, the last remaining singer, is very active in trying to be pet, to steal your food, and to get into the bathroom garbage to snack on dirty Q-Tips and tampons.

You guys are vegans too right?

Budgie and Basil were never vegans. They usually enjoyed a diet of Dick Van Patten's Natural Balance dog food or raw meat, fruits and vegetables.

How was working with the parrot singer Waldo from Hatebeak?


The singer was a bit of a diva. He's really loud and likes to repeat things over and over again. But overall we got along and we think it was a great split.

What do you think of their vocalist?


His squawk is no match for our growl.

You worked with Cattle Decapitation as well?


Yes, we released a split 7" with the awesome Cattle Decapitation some years ago. That was our last release. Although, there are no actual cows in the band. We were a little disappointed by that but still went forward with the split anyway.

Why did you decide to end the band after Basil died in 2011?


Technically the band is still around. We've been working on a tribute album to Basil as Budgie is still alive and doing great even at 14 years old. She misses her sister and wants a fitting memorial to her. We have a couple songs written but it's been slow going lately due to Budgie's arthritis.

Your website says you've received approval from celebrities like Susan Sarandon?


She loves us- so does Bernadette Peters.

How did you meet drummer Richard Christy, from The Howard Stern Show?


He was a big fan so we asked Budgie and Basil if he could join the band and they said it was cool. Unfortunately Basil never had a chance to meet him in person, but Budgie hopes to meet him one day.

Are there any other animals you'd like to collaborate with?

We'd love to work with the stray cats.