When the great Hip-Hop pairings of our time get brought up, how often are Method Man & Redman mentioned? Since 1995′s bong-blazin’ anthem “How High” to their seminal classic album Blackout!, the Shaolin and Brick City representers have ignited Notable Quotable verses as well as the end of their blunts on a regular basis. Still going strong on the heels of releasing the noteworthy follow-up Blackout 2!, Red & Meth crash TSS to break down old school vs. new school rappers, future endeavors and their favorite THC byproducts.

This is a Smoking Session. What did you expect?

TSS: It’s been a good 10 years since the original Blackout! Do the planets have to align, lunar eclipses, Apocalypse Now-type shit to get y’all in the studio?

Method Man: Nah we been in the studio, y’all know that the work was still there. Red has his solo project, Def Squad, Gilla House and numerous mix CDs he was working on. I had my solo project and the Wu-Tang joint. So we was staying in the loop but the label didn’t come around to the table because they were going through their staff changes at the time — but it’s here now though.

TSS: What was the creation process of Blackout 2! ? Was it a totally different experience or more of the usual routine.

Method Man: It was a casual approach. We went in with our heads clear. We didn’t have any pressure from the label and we went in comfortable. No pressure to do radio songs or none of that. And I actually, honestly LISTENED to the music to and conceptualized from that point on. Read the rest of this entry »

“This dude asked me ‘What’s the answer to this Hip-Hop cancer?/ I’m so hungry for this real shit it feels like I’m fastin…’”

Today Black Milk releases his third solo effort, TRONIC — an album so dense with material it feels like it could push beyond your ears and into the other senses. It would smell like that funk. Be both sweet and savory on the pallet. Have that cool burn of acid to the touch. Visually dissolve Soul atoms into protons, neutrons and — especially — electrons.

Each track is different than the next and slides on single synth-based samples into multiple beats, giving further evidence of Black’s ability as a producer. He deviates from the listeners expectations, but never leaves them mentally marooned. His rhymes are tighter and his growth as a lyricist is clear. TRONIC is a cohesive collection that has the potential to stick in iPods, stereos and memories longer than most any other album this year. With the city of Detroit backing him and cosigns from as high on the totem pole as Dr. Dre; Black Milk could fill a prescription with TRONIC — an anecdote to a Hip-Hop cancer.

But with a widening divide between radio and subterranean music, the question remains when or if artists like Black can bridge the gap and remain true to a progressive sound. TSS Crew member LC Weber spoke with Black about TRONIC, the progression of his style and whether the industry is ready to catch up.

TSS: We talked to Elzhi a couple months ago and asked him whether people ever tell him he raps too much or that he’s too weird for them…

Black Milk: (laughs) Yeah.

TSS: Do you ever feel like you’re put in a similar box as a producer? Like do people just want you to be or think you are just a soul-sample producer?

Black Milk: Not really. I’ve heard or seen a couple people critique the music, especially when we leaked a couple tracks for the new album – “Give The Drummer Sum” and “The Matrix” – the response was a good response. I’ve still seen one guy was like, “Man, I’m really gonna miss the Soul samples,” so people still expect me to stay there. But I think after awhile people are going to grow musically just like me. Their ears and minds are going to be open to new sounds, and new styles, and new ideas to approaching music.

You definitely don’t want to stay in one box as an artist. Some criticisms is going to come and people are going to want you to stay in that same lane. But I try and please the majority of the people – as many people as I can – and that’s why I still have a couple Soul tracks on the new album and try and steer away from anything that’s too far left.

TSS: So you don’t alienate your fans…

Black Milk: Yeah.

TSS: When you were putting this album together what kind of records were you digging for or what were you interested in?

Black Milk: Well a lot of the albums I was listening to for this new project, I was already kind of into those artists and chopping up those records, but a lot of those beats had never made other records. But I was listening to stuff like Stereolab and Gary Newman and stuff like Tomita and just like a lot of really weird records and a lot of weird artists people might not be familiar with, but I was just getting in that vibe. And Hip-Hop wise, I was listening to Slum Village’s Trinity, and J Dilla’s Welcome 2 Detroit album – stuff like that that had a different variety of music on it. It wasn’t just in one lane.

The Trinity album was like the main one. I was like, ‘You know what? That’s when Slum went kind of far left,’ and I don’t think people was ready for it. It was all over the place and people were kind of used to them being soulful with a certain kind of Dilla beat. I think now people are ready for that futuristic type of sound, but it just shows you back then how far ahead Slum really was, with people just now getting up on [that sound.]

I think with TRONIC, it’s Electronic, but it’s still soulful because I’m bringing in a lot of instrumentation and different things like that – live musicians to fill out the track, my recording techniques was different for recording drums, and how I recorded the track in general to give it a different feel.

TSS: Do you think people aren’t ready for it? You were talking about Trinity, but do you think people aren’t ready for TRONIC? Read the rest of this entry »

It’s only been a matter of time before the world got to know One Block Radius. Since forming in 2003, they’ve been formulating a universal sound, and while their debut Long Story Short and the preceding Cut Some Static mixtape slid under the radar, all the pieces are in place for a full on take over with their self-titled Mercury/Island Def Jam debut. Between the production and vocal brilliance of Marty James, the charisma, style and spits of Z-Man and scratches by MDA, One Block Radius is the complete package. In one word, their music is undeniable. They bring every flavor together and make a logical concoction of it all. Read the rest of this entry »

When my alarm clock went off at 2:00 AM to make the drive down for the 10:00 allotted time slot, and granted I had other business in the LA area, there was no hesitation. It’s Ice Cube. I don’t need to justify it by any means.

I can’t remember how many times I asked myself, “where the f*ck am I going?” on route to Ice Cube’s video shoot for “Why Me?” When I say it was in the cut, whatever you might envision, that’s an understatement. Aside from sand, Joshua tress and abandoned diners that offered eggs, bacon, toast and coffee for seventy five cents, there wasn’t much life aside from scrambling video crews and the roar of air conditioned vans where we were at.

The pleasant encouragement to keep the interview under 10 minutes was another task of it’s own. I could have gone on and on, but it was clear nobody in the building other than me wanted that. Like the homie Conceit said, “I’m not bitter at all” and the result…I at least got him to crack a smile at the end. And there you have it.

Previously Posted — “Raw Footage” – Ice Cube’s Performance At The Fillmore | “Gangsta Rap Made Me Do It” – Review Of Ice Cube’s Raw Footage

The name Outkast has been synonymous with Hip-Hop for so long that most of us probably forget the correct spelling is with a “c.” But it just goes to show how the genre has produced some of the finest musicians the culture has ever witnessed.

While the multi-(insert accolade/achievement) winning duo may be traveling on separate paths of rhythm for the time being, the goal to create some of the funkiest compositions to add to their storied brand of eclectic Hip-Hop has not changed. Big Boi, the group’s baritone-voice of corporeal coherence, is set to keep the Stankonia flag at full staff as he preps for his first solo-released album Sir Luscious Left Foot: The Son Of Chico Dusty and irons out the details about his record label’s status, the Killer Mike aftermath, and his take on the infamous ATLiens Vs. Aquemini debate with TSS Crew’s TC.

Do you really wanna know about some gangsta sh*t?

TSS: What’s good Big, Sir Luscious Left Foot, Big Daddy Fat Sacks, Billy Ocean…what I forget?

Big Boi: Ahhh shit! (Laughs) Francis the Savannah Chitlin’ Pimp…Hot Tub Tony! You know we out here doing it.

TSS: (Laughs) No doubt. So you still working on the album right now?

Big Boi: Yeah, I’m just putting sprinkles on it right now. Just a lil’ tweaking. I’ll be done with it in about a week. You know that’s when the best material comes towards the end, so I’m just mashing with it.

TSS: Give me a little insight on the Son of Chico Dusty album. Is it like a concept album or is it a like a compilation?

Big Boi: It’s basically just Big Boi to the extreme. I’ve been using the moniker Sir Luscious Left Foot for some years now and this is the nickname I’m going to use this time to convey all the different moods and personalities for me right now. It’s been what, 15 years now? Started out young at age 15 and 16 but Sir Luscious is the more global of the personalities. But it’s still all me. But sometimes you just want a change of pace.

TSS: Who’s on the production tip this time around?

Big Boi: Organized Noize, most definitely. I co-produced thirteen out of the sixteen songs with them. And my team of producers over at Stankonia, Boom Boom Room Productions. I got a couple of new guys on the record. A song from Lil’ Jon that’s tailor-made for me as well as a track from Scott Storch that he’s been holding for me for years.

TSS: Woooo!!!

Big Boi: Yeah man! That one’s crazy. I’m bout to put the finishing touches on it tonight. I got like ten more bars for the second verse and that one should done.

TSS: Who else is on the album? I know there’s Mary, Dré and Raekwon so far…

Big Boi: Me and T.I. got a BANGER! Sleepy Brown of course. Backbone, and Koncrete. It’s not all about “the features and who’s on this track”. The guest appearances are sprinkled all along the way, just like ingredients to the song. As you know with any Outkast album, that’s how we been doing since the first one. To me, it’s all about the WHOLE album and not just about one song. So you can just play and ride that bitch all the way out!

TSS: Oh for sure! And I heard you got a joint with George Clinton and Too $hort too.

Big Boi: Exactamundo! And that one’s is estupid as well! I work with artists who I admire and who’s material I listen to. So I get in here and rock with ‘em and ya know I’ma bring the best out of ‘em when they get in here with me!

But the album as a whole is definitely action packed, it’s high-powered, it’s funky. I put my hands on everything from rapping to singing, to producing and arranging all the records. So it’s Big Boi all the way and I’m definitely proud of the product.

TSS: And there’s the first single “Sumthin’s Gotta Give.” Real conscious, socio-political record. I saw the video. Are you trying to raise the awareness of the upcoming presidential election in the neighborhood communities? Read the rest of this entry »

It’s too easy to dismiss G-Unit as a crew of underlings riding off the lead rapper’s success. Actually, that would be totally inaccurate. When you consider everything the group has achieved as a collective and as individuals, basically any notions of indolence (read: hate) would ultimately prove fraudulent all together. As a sub-label (Aftermath) of a sub-label (Shady), Young Buck, Tony Yayo, Lloyd Banks, and of course 50 Cent have done better than most rapper’s who are the head of their squads.

But just like in every dynasty, the good times are highlighted (if not more) with the bad — most notably the recent defection of Young Buck from the immediate G-Unit group. While 50 Cent was unavailable due to the filming of the Irwin Winkler’s Streets Of Blood (next time 50!), TSS Crew’s TC managed to catch up with Lloyd Banks and Tony Yayo as they prepped to release the second G-Unit album T.O.S. (Terminate On Sight). Never known to bite their tongue, the well informed duo express their excitement for the new album, the Young Buck situation, some interesting traveling stories and unfortunately for him, Fat Joe. It’s the Unit! You already know…

TSS: What’s good ya’ll?

Tony Yayo: What’s up thoughhhhh!!!

Lloyd Banks: TC! Smoking Section! You got the right idea. I’m thinking bout blunts and stuff, I’m buggin’ out over here.

TSS: (Laughs) What they got 50 doing today?

Lloyd Banks: Oh he shooting a movie with Sharon Stone and some other muthafuckas I don’t know…

TSS: Oh yeah, the Val Kilmer joint.

Lloyd Banks: See you know better than me and shit.

TSS: (Laughs) But yeah, you been kinda lowkey this past year Banks, what’s been up?

Lloyd Banks: I’ve been chillin’ man. It was like I was off the radar cuz I was. I was touring a lot like to Russia and Korea, and all over Europe. I wasn’t really touring over the United States, I was overseas. But last year was a real hard year for me. My father passed a few weeks after my album was released and in the mix with that, my mother was back and forth in the hospital because she had heart conditions. And it seemed like everything was going real fucked up. As well as all that going on, there was a lot of B.S. and politics and shit going on in the industry. It’s like people were agreeing to disagree and forming alliances. Like I haven’t seen so many coupe records since “Self Destruction” nah’ mean? It’s like you either get in when you fit in or you get blackballed. But I’ve never been the type to compromise who I am as an artist or a person to the way things are falling in for everybody else. But now situations are a little better, I’m in a better state right now and I’m able to get in the studio and actually lock in to produce the material that I had prior to this.

TSS: So you’re saying when you did Rotten Apple, you weren’t as focused?

Lloyd Banks: Nah, it was everything that happened afterwards that had me fucked up to the point where I just really couldn’t deal with industry at that time. I ain’t even really know how to answer a stupid question at that time.

TSS & Tony Yayo: (Laughs)

Lloyd Banks: Yeah I’m saying, I would’ve probably got a lawsuit if they would have asked the wrong question while I’m dealing with my Pops passing and my Moms having heart attacks one after another. And at the same time, I felt it just wasn’t the year for the “Bad Guy.” Everybody was politically correct and they weren’t playing your record. So I was just on some “fuck em” type shit; not even thinking bout the Hip-Hop side. But like I said, my head is clearer and hopefully we can reign again with the T.O.S. album.

TSS: So do ya’ll think you have to have off years for people to get excited about your product or G-Unit in general?

Tony Yayo: Not to me. I look at it like this: Banks just dropped his album and was overseas getting those euros. Buck was dropping his album in the South and Fif was shooting movies. And I just got off probation, state parole and was worried about beating my case, going back to court and working on my album. So when we all got back together, it was time to do the sequel for Beg For Mercy. It’s time to Terminate On Sight.

Like Banks said, when you don’t see us in magazines or doing interviews, we still working. We just came back from Australia and Africa on a 14 day tour. We was in Sydney, Gold Coast, Johannesburg, Cape Town, having the time of our lives out there. There’s a lot of money overseas. Most artists don’t go to the markets because a lot of people don’t know them or they don’t think there’s money, or they just be slippin’, straight up.

Lloyd Banks: Yeah, it’s a beautiful thing to get to go to these places. And you know, the people got complaints, they want to see other artists too, but you have to understand what it cost to pay the average rapper is what it cost to fly out there one way.

Tony Yayo: He’s right, because you can hook up with a promoter and he can say he got “X” amount of dollars for you but if you have to pay for your own flight, you coming back with only like $5,000 in your hand!

TSS: Yeah, the trip’s mishaps have been well documented just as well. I heard ya’ll got the chain back…

Tony Yayo: I mean it’s the Unit baby. We jump in crowds anywhere. A lot of people scared to go to these 3rd World countries but that’s how the Unit do.

Read the rest of this entry »

Engaging & passionate. Informed & opinionated. Without a doubt, Killer Mike is one of the most remarkable artists in the music business. He verbally kicked in doors and made listeners pay attention when he made an appearance on Outkast’s “The Whole World.” Since then, he has maintained the listening attention to many of those same fans ever since, first with his debut album Monster & then a series of mixtapes released on his Grind Time Records. His growling voice, lyrics that are a mixture of street literature and social consciousness might pale only in comparison to his social & political awareness.

Rising gas prices. “Moving as a village.” His new music independent deal with San Francisco-based SMC Recordings. The influence of Southern entrepreneurial pioneers Tony Draper & Uncle Luke Draper. The Killer mixtape. When Atlanta was a “two hotel town.” The “two sides” of Atlanta & the beefs. Gays. Obama, Reverend Wright & the long-standing relationship Democrats & black folks.

And that’s just a part of it.

The rest, you’ll just have to listen for yourself as Killer Killer The Crack Dealer & TSS Crew’s Gotty™ cover what’s now and what’s next for Mike.

Graphic By R. Lanier

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Pledge Allegiance To The Grind II is slated to release June 17th. For more info, visit GrindTime Online @ MySpace and SMC Recordings’ MySpace.

Previously Posted — Killer Mike Performing “Two Sides” Live In Atlanta (Video)

Intro By Jason Hortillas

“The Cool Kids? What kind of name is that?”

You would think these cats were joking with a name so generic. But in fact, The Cool Kids surpass the status of their moniker, delivering more buzz than acts who actually have albums under their belts. Riding on the strength of singles like the BMX friendly,”Black Mags” and the ode-to-retro track “88,” blog posts have given the duo enough net exposure where they now tour globally. Currently, there still is no full length album (it’s in the works) but there’s more than enough of their audible treats available to keep the people happy.

The duo is comprised of two Chicago natives – emcee Mikey Rocks and beatsmith/emcee, Chuck Inglish. Their sound however is not indicative of their location. Hell, I thought they hailed from the left coast – but even with their limited resume, you can see this is not just another regional sideshow act. Combining the thump reminiscent of a classic Bay area anthem and the swagger of NY old school party rockers, TCK successfully does so, with only Chicago blood in their veins.

Its funny because a lot of the critique about TCK centers not around their music but their apparel. Getting attention in the street wear circles because of their so-called retro look, hipster acceptance has added to the fan base. Image definitely effects response, but will the duo get the same respect from their more atypically dressed counterparts?

So with that we got the man himself, Gottyâ„¢ to talk to the elusive Cool Kids, whose packed schedule has kept them moving at a frenetic pace. TCK’s Mikey Rocks talks about touring the globe, that damn Rhapsody commercial and why they never will come out with their own clothing line.

Photography by Rich Parry, Graphics by P.

TSS: Gentlemen, how are you doing this evening?

Mikey Rocks: How are you?

TSS: Just wanted to touch base with you. We’ve been trying to knock this out for a minute. Where you all at now?

Mikey: We’re back in Chicago…

TSS: Back in Chicago?

Mikey: Yeah, chillin.

TSS: You sound a little fatigued. Where were you all at last or this weekend?

Mikey: In Texas. We did SXSW

TSS: How was that for you?

Mikey: It was cool. We did some of the more publicized shows out there so it was cool to go back to SXSW and see what’s changed over a year cause we went there last year & that’s where we basically got started in terms of doing shows outside of our city & stuff like that.

TSS: Yeah, that’s kind of where the buzz originated I guess you’d say, no?

Mikey: Yeah, a little bit of it. Definitely from there because you’ve got a lot of writers & stuff there.

TSS: That’s a good spot to get your name poppin’ because there’s so many different media outlets attending. What did you all see there because I’ve heard various things, specifically that there was more hip-hop this time around. What was the difference in your eyes since you say you were there last year. What was the energy like & what was the audience & acceptance level like?

Mikey: It was really good man. I think a lot of people that were there knew what they were coming for, knew what they wanted to come see. Wasn’t too many stragglers off the street, walking in not knowing what was going on & just trying to check out shows. There was a lot of hardcore fans of people & who knew what they were coming to see. So everybody was really excited & the crowds were really dope.

TSS: I know recently, because I’ve been talking with your manager, that you all were in Australia if I’m not mistaken right?

Mikey: Yeah, we went there before we went to Paris.

TSS: Now how the fuck do two…excuse me, how do two young Black males from Chicago…which side of Chicago ya’ll from?

Mikey: South…

TSS: Southside…How do two young black males from the Chicago’s Southside end up in Paris & Australia? How does that feel to you? Read the rest of this entry »