Jake One- Perfect Beat Writer

The Seahawks have a woeful 1-4 record, The Seattle SuperSonics are no longer in NBA existence, and the Mariners….have always been the Mariners. As a matter fact the city of Seattle has been suffering from a championship drought for the longest; although the Seattle Storm recently won a WNBA championship- but who cares nobody really watches the WNBA. (Ladies, please don’t take offense, I am sure some of you cannot name this season’s recent champions) Seattle’s crowned jewel per say has always been the omnipresent Starbucks. But alas, Seattle has another hot commodity it can hang his hat on- Jake One. Despite having an extensive and eclectic catalog, Jake One is still only widely known for his works with G-Unit. Nevertheless, with the release of his debut, White Van Music, on independent label, Rhymesayers Entertainment, it is as though this perfect beat writer has come full circle. I recent caught up with Jake One via telephone just days after his debut’s release with one major question on my mind- what is White Van Music?

ER: Whaddup, How are you?

Jake One: I am real good.

ER: iight, you ready?

Jake One: Yup!

ER: iight, wassup with your Seahawks?

Jake One: (Sighs) man- it’s a hard life youknowwhatiamsayin’ (laughs). I am ready for Holmgren to get the fuck up out of there and start of fresh cause’ it’s just this never ending era of mediocrity that has to end. I can’t even apologize for what they have done this year; I can’t even come up with a reason.

ER: But you can’t put the entire blame on Holmgren though…

Jake One: Man he has been year for like fifteen fucking years, at some point this is all he created, and this where we are at youknowwhatimean.

ER: True, true. So what is White Van Music?

Jake One: White Van Music started from- that was the first song I ever did with somebody in high school. We had done a song about riding around in an ol’skool kidnapper van. I don’t why I just named my tapes White Van Beats. Like when I make a beat tape, I just used it as my publishing company and then people referred to it like it had some meaning. So I figured I had to use it for the album cause’ it’s a term that goes back from where it began.

ER: How did the name Jake One come about?

Jake One: When I was getting ready to do my first mixtape, I think in ’93 or something like that, I was trying to come up with a rap name or whatever. I was going to be JD, but there was a hell of JDs.

ER: Yeah…

Jake One: Those are my initials…

ER: What’s your name?

Jake One: Jake Dutton youknowwhatimean; it’s funny I actually spelt it J-A-Y-D-E-E. I used to tag that when I was in high school and youknow the real Jay Dee came a little later but I think I just needed a name and I was like, “Well there’s KRS-One so I will be Jake One.”

ER: (Laughs) I guess you can’t go wrong with that.

Jake One: Yeah, I have been stuck with since.

ER: Iight So, Seattle is not geographically known as a city that caters to hip hop, how did you get into producing, and how has the scene transformed since your beginnings?

Jake One: I got into producing just by being a super fan more than anything. There is this dude, a good friend of mine, Vitamin D, who was doing music back in the early 90′s for the group called Ghetto Children. Kind of seeing them do their thing, made me think…I wanted to try my hand at it youknowwhatimean. As far as the scene, I don’t know if the music is better now than it was then, but it’s definitely more unified and there’s more support. When I first started people didn’t like to claim Seattle as the place where they were even from. People would try to be from the Bay, whatever that was hot at the time; and now people want throw on 206 hats and all kinds of shit.

ER: Which local acts are big out there?

Jake One: Locally, Blue Scholars is probably the biggest thing locally. Obviously Mix-A-Lot; to me the person that has done the most out of here is Ish from Digable Planets. I know people don’t associate him with Seattle but he went to high school here, he grew up here; and he made the classic record. As far as the scene there is a lot of guys that doing their thing though.

ER: Are you a fan of the WWE? The reason I ask because you produced John Cena’s entrance theme song, how did that come about?

Jake One: It’s funny because I wasn’t even watching wrestling when that came about. I used to watch wrestling when I was a kid, the ol’skool wrestling. I think once they started introducing the youknow Elizabeth, people crying and the dressing room and all of that I got out of it. Somehow my manager at the time met John Cena at a radio show and gave him like a tape of beats. I honestly didn’t know who he was and I was like, “Iiight, whatever.” And then I got the call from him [John Cena] like, “Yo we got to clear this sample because I want this song to be my entrance music.” And (laughs) they end up clearing it and the record came out and it sold pretty well. It’s wild because the kids, I do workshops with kids and to get them familiar with who I am, I might play them some songs that I have done. And all I have to do is play that and they cool with me after that.

ER: What is the “perfect beat writer”?

Jake One: The whole beat writer thing is kind of like a little joke. Somebody told me I write great beats, which I just thought was hell of funny, so I have just been rolling with that. To me like a good producer has their own sound and they have something individual and unique about what they do. Like when you hear their beats you can say that has the qualities of so and so. Like when you hear Hi-Tek, you know it’s Hi-Tek, or 9^th Wonder or whoever it is.

ER: How did you compile the artists for White Van Music?

Jake One: You know everybody that I have worked with was either somebody…I mean I would say that 90% of the artists on the album I already worked with personally. When it came time for me to do the record I just reached out to them with a particular track that I thought they would sound good on. It was either that or someone like Freeway I reached out to because I was a fan and wanted to do something with him.

ER: Explain your process in making ’04 Rock Co. Kane Flow beat?

Jake One: It’s funny because that is everybody’s favorite beat that I have done. I probably tried to make the beat a couple of times and it just didn’t feel right. I just remember one day doing it and I had the little regular sequence. I was like its pretty hard youknow, kind of like some Busta Rhymes only five years left or some shit. I think it was in 2003 and Kanye and Just Blaze had that style where they started having breakdowns, having the powerful kicks and shit. So I kind of did that and was like that would be kind of crazy if I just slowed it down while I am doing it, and that’s all I did (laughs). So I slowed it down, sped it up, and I guess no one had ever done that before, and it just blew people away.

ER: Who do you consider your influences?

Jake One: I definitely have to say like when I first started beats; my biggest influences were like DJ Premiere, Pete Rock, Dre, DJ Quik, is a big influence of mine. As I started making beats, Jay Dee was definitely a big influence,  Nottz, Alchemist; there’s a lot of people that have done stuff that I try to incorporate  in what I do…I am not going to bite it.

ER: Are you still touring right now, what else do you have on your table, any notable production credits?

Jake One: We are just doing little dates here and there. I am just basically working on new material for next year. I am going to try to come out with a couple of different projects with different artists next year.

ER: Any more words?

Jake One: If you like the record, please go buy it. If you don’t like it don’t buy it. But if you downloaded it, you dig it, go spend ten bucks. I mean maybe you could smoke a little less weed that day or something.

ER: I know you are cool with Doom and all is his album really coming out this month?

Jake One: (Laughs) I don’t know, I did some songs for it but I don’t know when it’s coming out. I have been playing some of his songs at my DJ gigs, so if people come check me out they will hear a couple of new ones (laughs).

TURN OFF THE RADIO!

Jake One feat. Freeway & Brother Ali- The Truth

Jake One feat. D. Black- God like

Jake One feat. MF Doom- Trap Door

Jake One feat. Bishop Lamont & Busta Rhymes- Kissin’ The Curb

 

Nocturnal Videos: Episode 14- Unreal

NYOIL, a NY emcee by way of Staten Island is a very outspoken artist. His album Hood Treason originally released in ’07, and re-released in ’08 under the Babygrande imprint unequivocally supports this fact. Like Styles P’s, I Am Black,  cuts on NYOIL’s album will never see the light of day on the radio despite their banging beats, and compelling message(s); safe for Y’all Should Get Lynched which people knew about because of the video and its controversial nature and verbal battery of BET and rappers alike.

Most notably when it comes to the word Nigger, he clearly takes a stance that is quite opposite from that of NAS; however, we’ll save that discussion for another day. Below is a video from one of my favorite cuts on his album so…listen with a humble ear/ don’t be a fucking dunce…

* This is not a CLASSIC video by any stretch; but NYOIL is a decent emcee.

Hip Hopera Example I

A concept album is vaguely defined as an album in which a unifying concept or central idea is projected throughout the albums entirety. I use the word vaguely because that is an exception rather than the rule. That said, in hip hop there have been several attempts to create a concept piece, where all the songs and skits contribute to a (by and large) singular theme. Some of these aforesaid efforts fall short because put simply, not all the songs and skits are in sync partly because they fail to drive home the suggested premise(s). In my humble opinion while the songs on a concept album are supposed to contribute to its theme, a good indication of a stellar concept album- a litmus test if you will- is if the songs can stand on their own.

Tricks Of The Shade

I don’t know how many people remember The Goats, for that matter even know who The Goats are. Nevertheless, Tricks of the Shade, is a must have for any true hip hop enthusiasts. My boy Toothpick (He was called Toothpick for obvious reasons) put me on back in the 6^th Grade. Anyway before I even knew the words to Doggystyle and The Chronic, I was reciting the lyrics to Wrong Pot to Piss In and Hip-Hopola. The album plays like an urban concerto; with the trio’s ganja laced politically charged lyrics standing out against stellar production ushered in by Joe Nicolo (Boo Yaa Tribe). Their story tells the tale of brothers, Chicken Little and Hangerhead as they journey through Uncle Scam’s Federally Funded Welfare and Freakshow in search of their mother who was jailed for having an illegal abortion. Through these characters as well their politically conscious and Mary Jane innuendo music, The Goats are able to tackle several issues including the genocide of Native Americans in pre-colonial America, police brutality, abortion amongst others; ultimately suggesting that minorities were [still are] getting the shit end of the stick. It should be noted that all the songs featured on Tricks Of The Shade do not completely contribute to the album’s concept; still all the skits in which the aforementioned brothers meet some very colorful characters reinforce those suggested ideas.

TURN OFF THE RADIO!

The Goats- Wrong Pot To Piss In

The Goats- Hip Hopola

The Goats- Whatcha Got IS Whatcha Gettin

Georgie Bush Kids

Crazy Like A Foxxx

Lurking in the shadows of hip hop, there lies a man who is built like the Hulk albeit the lack of green skin. Like Bruce Banner, when his justifiable anger gets the best of him, he lets loose his rage. Fortunately for us, this liberation is evidenced through an acceptable platform, or rather outlet- the MIC. If there ever was a poster child for the coined phrase, “the industry is shady”; Freddie Foxxx a.k.a. Bumpy Knuckles would coolly fit the bill. Despite a tremulous past marred with, for lack of better words, shadiness; Freddie Foxxx has been able to steadily stay afloat even though it might have been within the confines of a self-inflicted obscurity.

Talent does not imply that one has to do everything everybody else is doing. That said it is quite clear that Freddie will continue to grow in his zone as he puts it, “…continue to make the sounds that draws me to the music.” His most recent release Crazy like a Foxxxx, was not released for the love of money, “…didn’t release the record to go platinum” but rather for the love of this thing called hip hop and its true enthusiasts.

ER: What it do? Should I call you Freddie Foxx or Bumpy Knuckles?

Bumpy Knuckles: Don’t matter dawg, it’s all the same.

ER: I will just call you Freddie then. So what’s good? Where you at?

Bumpy Knuckles: I am in the studio right now.

ER: What you working on?

Bumpy Knuckles: I am not working on nothing right now; but at the present time I am kind of like working on a couple of different projects. So I got  a few things on the table, some mix CDs…working on mixing this KRS-ONE record that I worked on called Royalty Check.

ER: So you still dabble with producing?

Bumpy Knuckles: Yeah definitely, everyday.

ER: So what have you done recently?

Bumpy Knuckles: Just mix CDs, like I have been doing a lot of catalogue stuff. I worked with DMC on a couple of projects; I am active, definitely active.

ER: Do you feel that if you had hooked up with Eric B earlier in your career it might have taken a different path?

Bumpy Knuckles: I don’t know, and that will never be known because I never went that direction so I can’t really look at it and say, “If I would have…” I am not a if I woulda shoulda person. Whatever happens is meant to happen that way, I will deal with consequences, or I thank God for the consequences at times. Eric B and Rakim was supposed to be so that’s what it was.

ER: Why did you opt not to update Crazy like a Foxxx?

Bumpy Knuckles: Yeah because it would have made the album sound wack. If I would have changed the album it wouldn’t have been Crazy like a Foxxx. People was asking me for Crazy like a Foxxx, I gave them 94′ that was when I was in a Crazy like a Foxxx mode. I think if had changed it I would have cheated everybody out of getting the experience of what I was dealing with and how I was feeling in the time that I made the album. That’s like getting a classic car and putting rims on it and doing all kinds of shit to it; and then when you go to sell its value has decreased

ER: You mentioned being in a different mode back in ’94, so what mode are you in now?

Bumpy Knuckles: I mean it depends; like right now when I listen to songs I am listening with a different ear. The emcee is not as popular as the producer nowadays; I am still in writing mode. I am in a mode where I still care about my wordplay and what I am saying; I am still concerned about what comes out of my mouth and how I write it. You know if I could make people rewind the tape, or rewind the cassette or I mean saying cassette like I am from the ol’skool. If I could make people rewind the CD or hit rewind on the IPOD or whatever you listening to it on and make you say, “Yo did you hear what he said.” They used to do that, nowadays they don’t do it no more youknowwhatimean.

ER: Since you just mentioned rewinding tracks, could you speak on Man Destroys Man?

Bumpy Knuckles: It’s really about standing to protect yourself from people who feel they can advantage of you because of your weakness that’s what that song is about. Even though I put the situation the way I put it, youknow being that it is about jail and dudes coming at you in a homosexual type of way, you have to know how to protect yourself from any kind of situation that puts you in a detrimental light. That’s the message I was sending out, this is how man destroys man.

ER: On So Tough you spit, do I blame it on my pops that left when I was feeding on my mother’s breast? In your opinion how has the increasing case of absentee fathers affected the youth today; particularly young African American men?

Bumpy Knuckles: I mean it’s bad when I child doesn’t have a father figure to keep that youknow sternness…you need a balance of both. Both boys and girls need a presence of female and male authority in their lives because those are two different life experiences. Women deal with experiences in life as females, and men deal with others. I think that when you [a child] are missing that information from that entity it causes the kids to have a lack of knowledge. I am not saying that a woman can’t raise a man, that’s nonsense. But, it is always better to have both parents there, that is if they are both level-headed and into parenting, “errbody ain’t into parenting youknowhatimean.” What I was saying in the song was do I get off my ass and do something about my life or do I sit around and blame my father for not being around when I was young kid youknowhatimean.

ER: How was it like working with the late Tupac Shakur?

Bumpy Knuckles: Dope, I mean dope Pac came in the studio. Man when he walked in I already felt the energy was gonna be crazy. He really listened to the music, he didn’t just do his verse and leave, the whole environment was engulfed by him. We were in there having fun.

ER: On Industry Shakedown you vented a lot of your frustrations, how is your relationship with Queen Latifah?

Bumpy Knuckles: I don’t really have a relationship with Queen Latifah, I mean we cool. I haven’t spoken to Dana in years. It has been years, she is on some Hollywood type shit right now. I am sure if I see her in the streets it’s hi and bye. I ain’t got no malice towards, I am glad she is doing well, I wish her the best. She is very talented, but I just don’t rock with her like that and she don’t rock with me like that.

ER: What’s next for you?

Bumpy Knuckles: I think I am gonna try and get out in ’09. I have been in the studio for five years, just stacking up my catalogue. I got so much music; I have just being doing so much studio work it’s ridiculous. Muthafuckas might think I fell off the edge of the earth but when I come back out on the stage it’s gonna go down.

TURN OFF THE RADIO!

Freddie Foxxx- Can’t Break Away

Freddie Foxxx- So Tough

Freddie Foxxx- Meet Some Skins

Freddie Foxxx- Man Destroys Man

OPEN YOUR MIND CASE 5: JANELLE MONÀE

In recent years we have seen several notable artists deviate musically from what is perceived as their normal talents. Some of them refer to it as a natural progression, rationalizing that they are merely expanding upon their musical horizons….I call bullshit. Most times these attempts are forced, forged efforts to get a green piece of paper.

Fortunately, Bad Boy signee, Janelle Monàe, is not one of those aforesaid artists. This self proclaimed,
alien from outer space, is definitely an artist to look out for in the months to come. I liken listening to her EP, Metropolis: The Chase Suite, to Alice falling down the rabbit hole and discovering Wonderland. Janelle’s music charms listeners into a world filled with cosmic musical delights which I am quite sure would equate to one hell of a live show. My only concern is that like many before her, she does not succumb to the ills of the Bad Boy label. But if she stays true to herself, P.Diddy can only hope to contain her raw talent.

TURN OFF THE RADIO!

Janelle Monàe – Mr. President

Janelle Monàe – Sincerely Jane

Nocturnal Videos: Episode 13- Universal Mind Control

Usually this section is best reserved for classic videos circa rap’s golden era and some years after. With that said, it is important to acknowledge that this is not a classic video; however, it is still well conceptualized and interesting to look at. Directed by Hype Williams, Universal Mind Control, pairs Common and Skateboard P on this track reminiscent of the sounds created by Afrika Bambaataa & Soulsonic Force. I might catch some slack for this but it seems Common steers left when there’s a certain woman in his life, Electric Circus anbody?

HELTAH SKELTAH- THEY AIN’T GOT NO RESPECT FOR YOU LAMES

What the hell was your dick doin’ in the milk man? Twelve years and three albums later, that now infamous question posed on Nocturnal, Heltah Skeltah’s 1996 debut, has yet to be answered.  When Sean Price a.ka. Ruck,”Got shit on the Ave. / I make cake outta state” and Rock a.ka. Da Rockness Monstah, “hard to blam/ got soldiers in front like I play quarterback” first emerged unto to the scene in ’95 by way of Smif-N-Wessun’s Da Shinin’, it was apparent that this impeccable duo was one to reckon with. Their contrasting styles made evident by Rock’s baritone, no nonsense or beating around the bush style and Sean Price’s enigmatic double entendre filled verses affirmed their nonpareil partnership. These attributes left audiences clamoring for more- and the delivery came with the aforementioned Nocturnal. Like most of the music from their camp, that album was not exactly radio friendly yet it’s still deserving of a classic nod. On the other hand Magnum Force, the duo’s sophomore opus, didn’t maintain the standards set forth by their debut.

September 30^th marked the release of their third album, D.I.R.T. (Da Incredible Rap Team) which features production and appearances from Evidence,  Marco Polo, Khrysis,  Buckshot and Smif- N-Wessun to name a few. A decade removed from their last release, it is obvious that the “super niggas from the ‘ville” still have plenty in the magnum chamber. Unlike many before them who have painfully decided to change with the times, the duo is comfortable with sticking to their guns, as this statement proves, “…We ain’t with all that worrying about what the people this and the third shit. We just go in and make our music, hopefully y’all like it.” Clearly the two, whose chemistry is paralleled by only a chosen few, are comfortable in their own lanes; opting to perfect theirs as opposed to confining themselves to the changes ever so prevalent within hip hop. They both acknowledge, “Everything is Heltah Skeltah” yet it’s just going through it stages, “Let the shit do what it do, I [Rock] ain’t scared.”

Perhaps the only thing that might scare Da Rockness Monstah is the fact that he can’t find clothes in his own size,”…I can’t even find a shirt in my size. Cause’ I go to the store and everything is small, everybody’s jean is getting slimmer….fucking vice grips.” Yet both do admit that they as they grow older their clothes aren’t as loose as when Karl Kanis were the ish. Although as Sean P candidly states, “I don’t want my jeans showing my manhood (I concur).”

Discussing hip hop put things into retrospect for the two, causing P to joke, “Thanks a lot man. You make me feel like an old man.” Still that is what’s so incredible about this rap team; despite a decade long hiatus the duo is still a wanted commodity with a solid, devoted fan base.  Through their growing pains they have witnessed their independent label, a shining example of nepotism, Duck Down, expand, something P was particularly proud of, “A few years ago Duck Down was (shit sound) but now it’s the place to be. We have been independent ever since independent wasn’t cool to be.”

Clearly the remarkable, charismatic duo could care less if this was an election year, since they aren’t particularly concerned about what the people think. Needless to say, it should come as no surprise that there will not be a Fab 5 album, “We mean what we say and say what we mean…no means no (Word, take notes sexual deviants).” Still it should be recognized that there’s no bad blood between them and OGC members as revealed by Rock, “The only problem I have with saying that is that people be thinking that me and Starang be out in the back fighting and shit.”

Fortunately with Heltah Skeltah it is never a mystery, as listeners know what they are getting- hard pounding beats and lyrics with a dash of humor. Never the ones to be compliant or apprehensive, why would they? “…you see the way niggas rhyming now, doing that bullshit.”

There will not be a Fab 5 Album

Oldie But Goodie

TURN OFF THE RADIO!

Heltah Skeltah- D.I.R.T. (Another Boot Camp Click Yeah Song)

Heltah Skeltah feat. Smif-N-Wessun – W.M.D.

Heltah Skeltah- The Art of Disrespekinazation