Philly emcee/producer, and occasional Grown Up Rap contributor, Zilla Rocca returns with a fresh cut from the upcoming new album, 96 Mentality, which comes out May 21. Listen to the exclusive premiere of the DJ Manipulator produced City Boy/City Man below, then go support the album by pre-ordering from here.
We’re closing out the week with the premiere of the excellent new single from emcee Libretto, and producer Buscrates. It’s taken from the album of the same name, which drops next month on Liquid Beat Records. Listen below, pre-order the album here, and keep a lookout for an interview with both artists coming to these pages soon.
The incredible DJ Yoda has a new album named Home Cooking on the way next month, and today we are very proud to be premiering his new single, Roxbury, featuring rhyme vet Edo. G and musician Nubya Garcia. We also caught up with him to speak about the new project, how he got into djing, and the different directions Home Cooking is taking him. Interview by Gingerslim.
My first introduction to your work was through your Cut and Paste series, back in the early 2000s. They were always so immaculately put together, I was wondering how much experimentation you had done with your DJing before you got to that point?
I started off making “pause tapes”, and graduated on to a 4-track cassette recorder. I was making mixtapes for myself, and then for my friends. I started copying up tapes in the dozens and taking them to record stores to sell. It was around that point that I was approached to do a “legal” mix CD, and that turned out to be the first of the Cut & Paste series. It was still recorded on a 4-track though – no computers at all.
It’s funny because no one ever taught me to DJ. There was no YouTube or videos, and I had no friends that were into DJing. So I probably wasted about two years doing completely the wrong thing – swiping needles across records and stuff!
How did you end up moving into that area of expertise from the more standard practice of DJing?
I guess the stuff that always appealed to me was samples and sampling. I loved things like De La Soul’s first album, Steinski and Bomb The Bass – they were taking little snippets from anything from TV themes to educational records to funk. It just made sense to me to construct these mixes like that – taking tiny bits and pieces from anywhere that I thought was cool.
I definitely never had the competitive streak, so battling didn’t seem right for me – I just wanted to make something fun and creative. I didn’t even really care who else liked it, it’s always kind of selfishly been more for myself than anyone else.
I was never a DJ myself and I’d never come across that style before. Were there any earlier turntablists who influenced and inspired you in that respect?
For sure – loads. I was inspired by Q-Bert’s famous Pumpkin Squeeze Muzik tape (classic funk breaks with samples from spoken word and movies), DJ Spinbad (the first hip-hop DJ to do an all 80s-pop mixtape), Ron G (NYC mixtape DJ who was the first to make a big thing out of “blends” – mixing R&B acapellas with hip-hop beats), and DJ Riz (who did these awesome mixes where he’d throw in stuff like Tracy Chapman or Chris Isaak with hip-hop). And that’s just a few.
Did your passion for making original music grow as your DJ career progressed or had that always been something you had wanted to branch out into?
It was never a plan of mine. I think I was just challenging myself to branch out into new things. My first album Amazing Adventures still sounds a bit like a mixtape to me. And with each album I think I’ve developed as a producer.
Your single with Joel Culpepper last year was your first real departure from hip-hop and rap that I’d heard, and it worked so well. Had you been dabbling with that style before you made that song?
Not really, I kind of surprised myself with this album. I never intended it to be a jazz or soul album but at one point I took a step back and kind of accidentally realised that I’d made one!
How did that collaboration with Joel come about?
I keep an eye on new music – I always have done. And I’m always thinking about which vocalists would be cool to collaborate with. I watched about 15 seconds of Joel’s YouTube video Woman, and knew immediately I wanted to work with him. So I sought him out!
I know you’ve got a new project coming soon, can you give us a little idea of what to expect? Is it going to much of a departure from hip-hop? I notice you’ve got Nubya Garcia on the new single with Edo G, which is a good sign.
Yep, I’d been paying attention to UK jazz, which is going through this amazing moment – and managed to get to work with some of the key players in that field – Henry Wu, Theon Cross and Nubya. Plus I worked with some legends like Omar and Jungle Brothers. It was recorded at Abbey Road – I just wanted to try and do something with some real effort and musicality.
Do you pay much attention to the simmering feud between the older and younger generations of rap fans? Do you yourself have a particular stance on the matter?
Rap has evolved so far. I think in 2019 there’s a lot of utter crap, and there are some gems to be found too. I can see how the new sound pisses off some of the old guard. It’s designed to. That’s what young people’s music is for.
You received a lot of much deserved acclaim for your Stranger Things mix a few years ago and the resultant live mixtape tour. Was it very tricky adapting the mix for a live rendition?
Half of my live shows are AV – so it made sense to me to put together an AV show of the Stranger Things mix. It was good fun to have all those 80s influences on the screen as well as just the music – it came very naturally. I love theming audio mixes and AV shows – when you play every kind of music it’s a good way to focus things.
Have you got plans for anything else like that? Any big live performances?
Always! My website always has my current live dates on. I’m planning a very specific movie-themed AV show for this September, along with a big AV announcement. But before all that I’m touring the new record with Ed OG, Joel Culpepper, Eva Lazarus and a live band.
You’ve got the single with Edo G out now and then the album to follow, what’s next after that?
As well as everything I mentioned already, I’m also prepping a nice compilation of all my Cut & Paste mixes.
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Home Cooking is out April 12. Pre-order here. Follow DJ Yoda on Twitter and Instagram.
Gingerslim has been a hip-hop fan since 1994 and has written for various blogs and websites since around 2006. During that time he has contributed to style43, Think Zebra, Headsknow and Front Magazine. His main interests in rap are UK hip-hop and the underground movement in America, with a focus on Rhymesayers Entertainment and the once mighty Def Jux label. He lives in Bristol and has a beard. All other details are sketchy at best. Follow him here.
Moka Only is one of the most prolific hip-hop artists of all time with literally hundreds of albums, EPs and 12″s in his catalog. His new album, Patina, drops April 26 on Urbnet, and today we are very pleased to be bringing you the premiere of the video for the first single, Funky Like. Hit play below, and pre-order the new album here.
Producer, and Loretta Records head honcho, Observe Since 98 drops a dope new single which we are bringing you the premiere of today. Taken from the upcoming Return of the Savage album, the track features guest raps from SmooVth, Rigz, Maverick Montana and Codenine.
The prolific SmooVth has just dropped a new project named Young SmooVth; a collection of unreleased and older tracks that give listeners the chance to hear some of his early work. We’re excited to be bringing you the exclusive premiere of the partial stream (you’re going to need to make the purchase to hear the whole thing), which you can check below. Keep scrolling to also read our SmooVth interview.
You make a lot of records with Hus Kingpin, and Young SmooVth features tracks from when the two of you went by the name Tha Connection. Tell us about that time period.
Hus Kingpin is my partner in crime. We started this shit together. Back in ‘05 i used to leave school and go to his house and record. This was before Tha Connection. It got to a point where that’s all we did. We started with MySpace. Found producers on there and started reaching out for beats. Some of these guys didn’t even speak English, so I found myself struggling sometimes to communicate to get the beats.
At the time we built our name on myspace. We went country to country and tried to conquer everywhere by getting producers from different places around the world to mess with us. Before you knew it, word of mouth got us buzzing, and so Tha Connection was formed. It was a good time, but also a gritty time. Hanging with a bunch of dudes, hustling, beef with rival crews. We were still in the streets doing street things…and so that hunger and street vibe can be heard in the earlier music.
What made you move away from going by Tha Connection when you dropped later full collaborations like 2016’s H.N.I.C. album?
Well actually, Hus got into his own business and didn’t record as much anymore. I had my son, and so real life slowed down what we were doing. Most of that early music was made under the same roof, in my basement. Hus moved out of state and I got caught up in real life. More focused on taking care of my kid. So once we got back to recording, for years he recorded solo work and I recorded a lot of solo work. We began to reinvent ourselves after that long hiatus. It got to a point where since he was out of state and we both were working on our own terms, we made names for ourselves.
The people started to recognize “Hus Kingpin” & “SmooVth” more. We actually had this discussion, whether we should use our regular names or if we should still go by Tha Connection. We technically still are Tha Connection but we felt our solo names were more relevant, so that’s what we stuck with.
Breakdown some of the other unreleased and older tracks on Young SmooVth for us.
All these older joints tell a story. I realize, my following now is larger than it once was in my earlier days. I figured a lot of listeners don’t know my story and where i come from, so I just wanted to take the people back in time so I could give them the full spectrum. I wanted to show my range. The music then was a bit more gritty, the younger I was, the more raw the music, because as I said before, I was still in the streets getting into dumb shit with my guys. Joints like “Trapeze,” “The Pledge,” and “Shimmery,” show that. I’m doing what I always do. Just painting a picture of my neighborhood, what I’ve seen and what I was going through. These days when I rhyme, I’m referring to the past as an OG and not wanting to go back to that. Back then, I was rhyming as a soldier actually still in it.
You’ve done a few projects solely with one producer, like the Medellin albums with Giallo Point. As a producer yourself, is it sometimes hard to let go and allow someone else to completely craft the sound?
Shout out to my guy Giallo Point. The work we’ve done together definitely changed the landscape. Shit definitely pushed my career forward in a good way. Working with him is easy. It doesn’t get any easier really. I feel like, if the producer knows your sound and what you’re looking for, it shouldn’t be difficult at all. If anything it should be less stressful since you don’t have to take the time to craft your own work. A lot of people don’t know, doing it yourself is wonderful but a timely task. Working on my own I’ve had to dig for samples, chop em up, make the beat, write the rhyme, and then mix the track and vocals. I can do ALL OF THAT myself and have many times before but, I’d say it’s much easier to work with a producer that knows you and what you like because then creating becomes effortless. It’s only more difficult if you’re dealing with a producer with trash beats or one that hasn’t done their research on you as an emcee.
You put in a lot of work (we went over our archives recently and found we’ve posted over 50 singles, albums or EPs you are on since 2015!). Is putting out so much of your own music and features a way to maximise streaming revenue, a way to keep pushing your brand, or both?
Both. Ive got mouths to feed so it pays off in the end. Being independent not only pushes your brand, it surely does bring in more revenue. I don’t want to give everyone the jewels. Not trying to give them my formula because there’s plenty of artists out here stealing the sauce and not giving you credit for it. But, for me I drop singles and projects to boost my name, to build a demand, so that people want to purchase the music, merchandise or feature. It’s all about doing what I love but at the same time, being able to provide and take care of my family as well.
You also work with a lot of small, boutique labels to press up your music on vinyl. How do you feel about the vinyl resurgence in general?
Yes absolutely. Shout out to Tuff Kong and FXCK RXP…and the other labels I’ve worked with. I think its dope honestly. These guys are overseas and have a following of their own so, releasing music with them only opens you up to other markets. It’s all about exposing yourself, spreading your name out to more people. The vinyl resurgence is great, I love it. It’s dope, it gives the people other things to look forward to. Collectors items.
Now that Young SmooVth is out, what’s the next big project on the horizon?
I’ve got a few surprises in the works. Two albums I was asked not to reveal yet. One of them is finished, artwork and everything. The other is 60% complete. What I can reveal though is this joint project with Hus, Like Purple for Chocolate, and some shit I’ve got in the cut with Bronze Nazareth. Oh, and shout out my dude J.O.D. We got one too. So about 4/5 projects in the pipeline right now. I’m trying to suffocate the game now.
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Young SmooVth is available on digital now – go here to get it. Follow SmooVth on Twitter and Instagram. Interview by Grown Up Rap Editor Ben Pedroche.
Bronx’s The Legion are back with a new album – their first full-length project since the classic Theme + Echo = Krill almost 25 years ago. The anticipated Three The Bronx Way drops everywhere tomorrow but we’re bringing you an exclusive first listen today. Stream it below, then keep scrolling to read our interview with all three crew members; Molecules, Diceman and Chucky Smash.
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We’ve been excited about Three The Bronx Way since the audio for “1980 Something” surfaced early last year. Now it’s finally here, tell us about what we can expect?
Diceman: Well for starters we definitely didn’t stray from our sound—not one bit. Classic hard drums, dope samples, and a rap style that’s our own and not dated. Most importantly, from here on out we will remain consistent with our output of music.
There’s a bit of a Blaxploitation movie theme with the artwork and to a certain extent the sound. Is that the kind of atmosphere you are trying to capture with Three The Bronx Way?
Diceman: Definitely, as with our first album title, Theme +Echo=Krill. Theme music is our thing. We feel like every track should have some sort of theme to create the mood/vibe of the song or songs. It just gives it feeling. It makes your song sound like it belongs to a score for a movie, and gives a different affect to the lyrics…more artful.
You guys have been putting out records since 1993, which is impressive to say the least. Even more impressive is that you are still together as a unit. What’s the secret to maintaining a creative relationship for so long?
Chucky Smash: There’s no secret to us maintaining our relationship. Fortunately for us we were a crew before the industry. We grew up together in the Bronx. Of course we are brothers so we bicker and argue like any other family, but thank goodness we never had a falling out. The creative formula has been primarily Molecules on production and Dice and myself coming up with concepts. That’s usually the way we create songs.
Molecules: We’re friends, but we’re more like family. I’ve know Smash since like the 6th grade and Dice since like high school. Their kids are my God kids. We watched our kids grow up together. It’s more than a working relationship. We have a bond. With that it makes it easy for us to work together. We get in the lab, I lay down a beat, Dice starts spitting and Smash starts writing a hook. The process is effortless.
That said, there are sometimes long periods of time between projects. Other than your individual solo stuff (Molecules’ A Bronx Tale EP with Showbiz, and Diceman’s recent The Power of Now project, for instance), what else do you guys do between the music?
Chucky Smash: Molecules was involved with production for artists like Pink and also Mos Def. Dice is always prospecting other artists for us to work with. I had a nice run at radio with DJ Bill Skillz WVKR. The three of us are also proud fathers and family men.
When we spoke to Molecules last year he talked about how impactful Dres has been to The Legion. You have him on Three The Bronx Way (“Make It Hot”). It must be good to know you can call on an icon of the game like that to support you anytime you make music?
Chucky Smash: Yes, being down with Dres has definitely been a blessing. He’s had a huge impact on our career, and getting us our start with “Jingle Jangle.”
You also have Sadat X on the track “Word.” Tell us about your relationship with him?
Chucky Smash: Sadat X has been a friend of ours for years. We’ve done multiple shows with him and Brand Nubian. It’s just easy to link and vibe with him. He has that distinct dope voice.
Molecules: Sadat X is like family. He’s a real good dude. Like Smash said we’ve been running with him for years, doing shows, etc. Our relationship with him is bigger than music. I’ve still got unreleased music with some of my close friends on it, including Sadat. Anytime I hit him he comes through no problem. Genuine love for him.
Anything else you want people to know about, Three The Bronx Way?
Diceman: Besides to go out and support Three The Bronx Way, we want you to know ya’ll won’t be let down. We’re a piece to the puzzle of Hip Hop—what we call the forgotten formula: hardcore music in song form.
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Three The Bronx Way is out tomorrow, and you can get it from here. Follow The Legion on Instagram, and Molecules, Diceman and Chucky Smash on Twitter. Interview by Grown Up Rap Editor Ben Pedroche.
Da Buze Bruvaz, aka Him-Lo and Clever 1, are back with a new album coming soon, the delightfully-named Drinkin’ Beer Wit’ Prostitutez. Today we are premiering the video for the latest single, Golden Brown Sea Bass, which also features Driz Lo. Watch below, then keep scrolling to read an interview with Him-Lo.
You guys are pretty elusive. I know Da Buze Bruvaz is Him-Lo and Clever One, I know you are from Philly, and I know you make good hip-hop. But that’s about all I know. Can you give us more background?
We both grew up participating in all aspects of hip hop; graffiti, breakin, rappin, cuttin n scratchin. Been spittin since da 80’s. Clev was always more polished and had an arsenal of rhymes cuz he wrote regularly. I knew I could spit but didn’t write as much cuz I was hypnotized by cuttin n scratchin…u gotta remember we’re from da city wit da illest DJ’s
Tell us about the new album, Drinkin’ Beer Wit’ Prostitutez. What can we expect?
You just gotta expect da hardbody karate we always provide. Aint no switching up ’round here.
There are hardly any features on the new project. Is that important to you guys – to not have guests there just to piggy-back on their name, keeping the focus on your own skills?
The lack of features wasn’t done purposely, we move pretty fast n jus wasn’t waiting on anybody. We write n record regularly..got at least 500 songz.
You are known for being brash, unapologetic and hardcore. It’s a classic hip-hop sound, but not something you see that much anymore. Why do you think that is?
We spit like dat cuz we a lil older than deez other rappers. We’re from a totally different era and try to preserve that sound without sounding dated.
I’ve noticed you choose not to be active on social media. I can understand why, but at the same time, its an important tool for musicians. How do you feel about social media in general?
I personally despise social media. Social media has given a lotta idiots rope 2 hang themselves. Many people have been caught cheatin, arrested, robbed, fired from jobs, n murdered over things they say and do on social media. People expose themselves as frauds n cornballz who can barely socialize in real life. Of course not everyone but it seems like a large majority. Plus I’m a person dat really doesn’t wanna be bothered. If u can’t reach me then there’s a reason 4 dat. I don’t want people finding me. As far as promoting our music on social media…if you can’t find our music then it isn’t for you.
You were a part of the Lo-Life crew in the early 90s – an era that has always fascinated me. For those that don’t know, describe that whole scene.
Da Lo Life era was bugged out. We got strung out and addicted to rocking new Lo. We got a rush coming up on free pieces. We got a lotta Lo lifes here in Philly dat went on missions daily. My man B-Bill (R.I.P.) iz responsible 4 bringing da Lo Life saga 2 Philly. We would go out n boost a lotta shit…get back 2 da hood sell half of da clothes and keep the other half n show off new pieces on some fly nigga street fashion show shit.
Do you still have any of the gear stashed away?
We definitely got a lotta Lo but not anything from dat era. We outgrown all dat. We had to get rid of shit we can’t fit anymore. Plus I took a few trips in n outta jail. When dat happens your family will gladly rock ur belongings.
Going back to your roots in Philadelphia, I want to talk about one of the most interesting and tragic stories in rap history: Steady B and Cool C. What was it like being in that circle in the aftermath of what happened?
Ah man that was messed up. At the time it happened they were tryna make a comeback as C.E.B. Cool C, Steady B, and Ultimate Ease. They fell on hard times financially n tried 2 get back in da game. It was an unfortunate situation. There’s always a chance 4 some’n 2 go left in a robbery n in this case it did. A lotta Philly m.c.’s were disappointed at the entire situation and how things transpired.
The new record is coming out on Grilchy Party, ran by MarQ Spekt. How did you first connect with him?
We were introduced 2 my man Spekt thru my homeboy Buddy Leezle at a spot called Kung Fu NeckTie here in Philly. We were all there to perform. We been friends ever since.
And what’s up next for you guys after Drinkin’ Beer Wit’ Prostitutez?
I just completed 2 solo Him-Lo projects dropping soon. Clever One is finishing up a solo project n we’re halfway done another Da Buze Bruvaz album. We been workin hard 2 provide music 4 those who enjoy what we do.
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Drinkin’ Beer Wit’ Prostitutez is out December 24 via MarQ Spekt’s Grilchy Party label, and you can pre-order it here. Follow MarQSpekt on Twitter. Interview by Grown Up Rap Editor Ben Pedroche.
This dope new instrumental project from the prolific Damu The Fudgemunk is a companion piece to May’s Dreams & Vibrations album with Flex Matthews. Victorious Visions is being released by Redefinition Records on limited edition vinyl, which you can buy from here. In the meantime, listen to our exclusive stream below.
Bonus beats: Redefinition Records also recently released the instrumental version of last year’s excellent Ears Hear Spears album by Damu and Insight. Listen below.
