Archive for ‘Interviews’

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November 15, 2012

Busy Signal before he was arrested on extradition warrant [Interview]

Busy Signal is the famed dancehall artist from Jamaica. His exposure to music from a young age came from the church where he would go with his Mother a devout Christian. This is where he realised he possessed great vocal talent, singing hymns, and received his first encore from the church congregation. Moving to Kingston in his early teens, Busy would sneak out of the house at night to hear the sound systems of Bass Odyssey and Renaissance. He made several links in the hope of becoming a recording artist, voicing several dub plates. Busy Signal’s break through came in 2005 with ‘Not Going Down’, and the self produced ‘Step Out’, along with his debut album ‘Step Out’, in 2006. Fast forward to 2012 and Busy Signal releases his album ‘Reggae Reggae Again,’ a tribute to reggae music. (Please note the interview happened before his current legal issues.

How was it like being raised in Jamaica? What was your childhood like?

My childhood was very strict, and my mum was a Christian. I’d go with my mother, grandfather and grandmother to the church. I’d have a love for the music since I used to go to the church when I was a little kid. When I was growing up, it wasn’t easy but I loved music, and I was the most brilliant student at school.

How did you get into music, was it a progression or something you had always wanted to do?

I’ve always wanted to do music since I was little, something musical, I was always interested in having the microphone.  I DJ’d at competitions after school. My first professional start was with a record label in Jamaica, I met DJ Kareem and Super Hype, and from there it was non-stop.

Where does the name Busy Signal come from?

My friends at the time, I always used to go out with people older than me. Almost every time we went out to a Dancehall or something I’m always all over the place, trying to go over there, or look at this, see this or whatever, they were like ‘Yo your too busy, your all over the place,’ and that’s how it really came about. So I’ve always been busy, I added signal to it when I started out professionally.

What reggae artists did you look up to when you were growing up?

A lot of them I looked up to, Dennis Brown, Gregory Isaacs, Bob Marley, a lot of them, there’s even reggae artists that aren’t from Jamaica like UB40, they do music really well. I had a lot of reggae artists to look up too when I was growing up.

How did Bounty Killer aid your career?

When I started out doing Dancehall, he was there to guide me, and taught me how to deliver my lyrics on stage, and how to have that presence that people recognise as soon as I stepped in a room. How to get that commanding voice performing in front of the fans I learnt a lot of that from him. He really delivers and commands the crowd when he is performing.  You feel like you’re a part of it and you’re the one on the stage. I learnt a lot of that from him.

What was the best advice that he gave to you?

Not to give up, never to give up. The dancehall crowd is Jamaica is a tough crowd, and to get past the level in Jamaica where people recognise you and that you’re an artist and they accept you, to get to that level is not easy to do. Jamaica is like a tug of war, in terms of when you’re trying to rise, there’s always someone trying to track you down. The best advice he gave me was to continue doing what I’m doing and focus.

You are considered as one of the leading artists in the dancehall movement. This is quite an achievement. What do you think about this statement?

That seems like a very good statement. In terms of a deserved statement I give thanks for it. I just feel honoured to be in Dancehall and be able to represent the real music. It’s definitely a good thing to me personally.

What do you think about the dancehall scene in the UK?

The UK Dancehall scene I definitely enjoyed and love it. I came here about a month ago and hooked up with a couple of artists out there as well and did some tracks. The UK style of Dancehall is really different to here in Jamaica, even the way they talk. The UK has the biggest connection to Jamaica to me, and the Jamaican culture a lot. I love the broken English type of flow and everything, I event tried it sometimes in different styles when I do different flows.

What has been your biggest hit to date?

‘One more night’, ‘Step Up’, I never perform anywhere where I can’t do these songs. Those songs really stand out.  These songs keep going and that’s the good thing about it.

You’ve recently released your album ‘Reggae Music Again.’ Why did you decide on this name?

Reggae music is one of our biggest exports out of Jamaica and one of our biggest genres of music. We have like 4 or 5 genres of music here in Jamaica and reggae is one of the biggest and the best. I do Dancehall and I love Dancehall it’s my first love, but I just paid respect to reggae music. We even had the leading track the title track as ‘Reggae Music Again’ as well. It’s just meant to represent reggae music, it’s been a long time and people haven’t really got the real authentic reggae music like this. It was showing respect to reggae music, and as an artist to play my part in terms of doing great reggae music. It’s my first reggae album, but its real authentic reggae music.

The themes for some of the singles discuss quite powerful issues. Tell us more about this and where the inspiration came from?

Where I get the inspirations from is definitely everyday life. Everyday life and the things that I read about, and things that I see on the news all over the world. I listen to the news a lot and I read a lot, I try to be knowledge about life. That is my inspiration everyday life, things that are around me, and things that I see on the TV on the news. I put in in musical form.

If people around me try to sell their race out or are ashamed of their skin tone I can’t be around or associate myself with them types of people.

What is your opinion on the whole bleaching skin issue?

Its just people selling out their race basically, and they can’t really do that.  You can’t sell out your race like that. I accept myself, I love myself, I love my kids I love the people around me, my whole team. If people around me try to sell their race out or are ashamed of their skin tone I can’t be around or associate myself with them types of people. Its never going to last because its not real, you don’t just put something away and try to hide from yourself. Are you ashamed of yourself? Or are you trying to rub away yourself? The real you is still here coming out in person in personality not just skin. You got to be proud of yourself and what God made.

Can we see something different from you in this album…how have you matured as an artist?

The way I meditate and come through with different wordplay and metaphor. Just the whole musically what I’m doing. Just to come up with the concept and everything and putting it into music form with my team. ‘Reggae Music Again’ is a different album for me, not really expected, some fans didn’t really expect this one. It’s always a challenge to do more and do something that you haven’t yet done. I don’t think I should just do dancehall music, or just one music, I think I should just do what I want to do in music as long as I’m doing it the right way.

What’s going to be next for you?

A whole bunch of tours and promotional stuff, getting this thing out there, giving it the proper promotion and exposure that it really needs. In this time real, authentic reggae music is really missing, that real authentic vibe. There’s me and other artists doing it now, and we’re doing something special, but we definitely need help like with this interview right now. We need exposure and more promotion with delivering the music there. I got tours coming out and different things coming up.

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November 1, 2012

Copywrite: Exclusive lyricism at its best [Interview]

Shireen from Flavour talks hip hop with Ohio’s Copywrite, an rapper who has brought together artists from the UK and US for his brand new album ‘God Save The King’  (Proper English Version)’, released 13th June. We talk about the hip hop scene in Colombus, Ohio, his reputation as a battle MC, and working with the UK’s finest MC’s.

How did your journey as a hip hop MC begin?

I actually started off by accidentally freestyling, spur of the moment in my friend’s basement, while he banged on the table and recorded it into a boom box. This was in 1990/1991 I was about 13/14; people in the neighborhood heard it and told me to keep going. They said it was good which we knew it wasn’t, but at the time and for people that we knew thought it sounded decent.  After that we thought lets try and write something.

Tell me about your early days with Megahertz?

Basically we started in Columbus, Ohio, Megahertz went through a few different phases with different members, but we were just a group of kids who really wanted to make a career out of it and go worldwide with it. We got a good response locally in Ohio and in Columbus, and we hoped the rest of the world would feel the same way the people locally did. We took it a little bit further every year.

You come from Ohio, what is the hip hop scene like out there?

It’s cool you’ve got a lot of people from out here who made a name for themselves. We’ve got Blueprint, Illogic; we have ten worldwide acts from Ohio, Columbus from the same area who just did their own thing on their own merit without help.  It’s quite a hip hop scene out here, the only downfall is we don’t have that many venues to perform at, so most of us go out of state to do our shows. Artistically it’s an incredible place, its birthed a whole lot of great artists and it continues to do so.  There are a lot of people on the come up, new artists that are just getting their names known.

As an MC what do you think is the most important to have; content, delivery, wordplay or flow’?

Flow. You can have the best lyrics in the world, but if you don’t have flow who would want to listen. I’ve heard some MC’s that don’t have the greatest lyrics in the world, but their flow is nice, so they’re listenable. Personally I cant listen to an MC if he doesn’t have timing.

You’ve got a reputation as a battle MC. How do you prepare yourself mentally?

I’ve never really prepared myself; I just go out there. In my earlier days I was just so hungry, and so angry, angry that other people were rapping so good. This was coming from when I was like an arrogant little 19/20 year old, and I would just have an arsenal of my legitimate thoughts. It was already there, these were the thoughts I had trapped in my head, and I was ready to direct them to whoever I thought was in the way or a lesser opponent. I’ve been doing it for so long, but there’s a time and a place for the cockiness and arrogance, which is important to but you learn that along the way. The studio and the stage is the only place for it.

What proportion of your battles is pre prepared and what is off the top of your head on the day?

When I battle it all it is off the top of my head. I wouldn’t go in there with any pre-written or pre-thought out stuff. I would throw all my thoughts in right then and then.

Can you remember a punchline that destroyed your opponent? 

There was a 50 Cent show I did and Jay Z was there, Just Blaze was the judge and there was a kid named Skyscraper and I said, “This aint event fair game, if you’re a skyscraper I’m the Taliban in an airplane.” It was like a crowd of 10,000 they all went crazy.

Which international battlers really stand out to you and why?

There’s a dude names Dirtbag Dan from San Jose, he does a lot of Grind Time battles, I like him because he has a different approach. He has all the basics an MC should have, but he has random stuff and will sometimes come off like a stand up comedian. He’s really good and really funny.

You’ve worked with various UK MC’s in the past. What initially led you to work with MC’s from across the Atlantic?

Early on in my career I got the chance to work with different cats. We went on our first tour in 1998, and Creative from Denmark was one of the first people we worked with. A kid named Formula 1 from Sweden we worked with. I learned early on that everyone has skill. Slick Rick was always one of my favourite MC’s, and to me he’s one of the top MC’s and he hasn’t fallen off. That always blew my mind, and people don’t really stop and think where Slick Rick’s from. As far as me being an Italian, a white dude or whatever, in the same manner I didn’t want people to discriminate against me for being white, I never discriminated against other MC’s for being from different countries. Music’s very transcending and I’ve always seen that.

On your forthcoming album you work with UK MC’s such as Genesis Elijah, Context, SAS, Bigz, Dru Blu and Akala. Why have you continued to develop this relationship with MC’s from the UK?

I think it’s just something different and I feel like with the Internet we have a real bridge. We speak the same language the only thing different is the slang and the accents. This border between us (the US) and the UK is real silly at this point. There’s a lot of politics in music, but I’m just really trying to show people there are a lot of talented people out there, and it doesn’t matter where they’re from. What I like about Context is his flow is real smooth and he has lyrics and he’ll rhyme in particular parts that you don’t expect to hear. Genesis Elijah is real raw and energetic and I always like that. SAS is real street with it. I like the kid Bigz a lot because he has a lot of punchlines and energy and bounces all over the meat. He’s really really dope, I get a really live visual when I hear him. Akala, just forget it that dude’s crazy.

You also feature a lot of US heavyweights. Why the decision to have so many features? 

A lot of people I’m really cool with in the industry, and it was a strategy of mine to get people to pay attention to the MC’s that they may not otherwise pay attention to. I’ve been doing this long enough to know the games that people play. I’m not really into the whole names thing, I base it on talent. I figure if I throw me and Royce and Genesis on a song, people are going to hear it. People are going to listen to it and it might open up their eyes to an artist they otherwise wouldn’t have paid attention to.

Do you think by having such a mixture of UK and US artists that your album becomes fully trans Atlantic or will one side still favor it?

I honestly think it will be trans Atlantic, I think both people will dig it. A lot of people out here really like the song I did with SAS and they’re not pressured into the fact their from the UK, there is no negative feedback. I don’t see how an accent can get in the way of people enjoying the music.

After the album, do you still intend to work with artists from all over the world?

Yes. It’s pretty much an ongoing thing. I get a kick out of putting people onto new artists. My biggest dream would be to do a song with Radiohead.

What is next for Copywrite?

Were working on the Megahertz record with RJD2 and the rest of the group. Our brother passed away from cancer, we’re doing it in honour of him, a tribute to him. We never got the chance to make a proper full length so that what were trying to do.

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October 23, 2012

Liverpool’s Soul: KOF

KOF is the undeniable talent from Liverpool. His smooth, soulful lyrics have caught the attention of DJ’s Trevor Nelson and Ronnie Herel. His gift of being able to write songs, sing, direct and edit his own videos means all his projects are personally looked after by him. Kof’s ‘Alternative Soul’ EP did exceptionally well, with singles ‘’Looking At Me’, Be Like You’ and ‘Child Of The Ghetto’, being playlisted from BBC Radio 1, 1Xtra, Choice FM, BBC Merseyside and more. He is currently working on his debut album telling Shireen from Flavour that features will include Exo, Benny Banks and Ratlin.

You have a very soulful voice with poetic lyrics. Where does this soulful influence come from?

When I first started getting into soul, the first guy I listened to was Musiq Soulchild, and he had that tune ‘Just Friends’. I used to sing that in college all the time or any time I got the chance to sing that would be the song. Then I started listening to artists like Glen Lewis and Erykah Badu and Common, I think that’s probably where my main influences in terms of soul came from.

You’ve worked with Terri Walker on your last EP, and Wiley on your first single, two inspiring people in the music industry. If you could pick anyone to work with next that would compliment your music who would it be?

At the moment I would say MJ Cole. With Terri Walker’s track I really caught the vibe of neo-soul. I think MJ Cole could take it to the next level and give me something a bit more upbeat, but still got that soul element, and I love old school garage as well. I loved what he did with ‘Sincere’, and those kinds of tracks. I think I could vibe on that pretty nicely. I think it could be an amazing summer track that you could have a barbeque to.

London is often hailed as one of the music capitals of the world. Do you think that coming from Liverpool has made your musical journey more challenging than if you were a London native?

I think so, but it has it’s pro’s and con’s too. I lived in London from when I was 6 till 18, so my teenage experiences were here in terms of the music. Coming back to London in terms of how my music sounds, people embrace me more because they see me as being someone who is outside of their remit. Radio stations like 1Xtra have embraced me quite a lot, being that I do represent a different demographic of the UK, whether that be my attitude, my accent, or my style of music. I’m happy that I’m different from the majority of things that are going on in London.

It must be amazing to have your music supported and co-signed by so many industry heavies. Whose approval has really encouraged you the most? What kind of praise have you been receiving?

People like Trevor Nelson and Ronnie Herel. When I was bringing out this new side of music, the soul stuff, they are pioneers who I would be amazed to get played by. Once that happened it was great, then I went and met them at a show. Trevor Nelson said to me “I love it, it’s just good music and just keep doing your thing. Try not to follow to many trends, just do you. That’s what people can relate to and respect”. That was a big thing. With Ronnie Herel we went and did an acoustic cover in his place ‘Brown Sugar’, and from there he wants to work on some music. He played the first Terri Walker tune that I did, and he’s been supporting from then. There the guys I look to for that light to say your doing well.

Although your music loosely falls into an ‘urban’ category, there is a uniqueness and freshness to it that makes it hard to define. What is it about KOF that separates you from the rest?

I think it will always sound cliché, but I am different from everybody else. I think I just try and be as natural as possible, especially with the music that I’m doing at the moment, it’s just straight off the vibe and the feelings that I’m going through with day to day stuff. For instance the track ‘Get Out’, which will probably be my next single, that was one of those situations that I was going through with my ex girlfriend. The first line is ‘Keys on the table, coat on the floor, phone by the bedside, but you don’t live here no more’. As I’m writing these thing I’m looking at them, that reality of what I’m writing is what sets me apart at the moment, people can feel that in my music.

Rapper, singer, songwriter. Where do you feel your talents lie? How would you define yourself?

I don’t know different people tell me different things. My manager might tell me “I think one of your strengths is in you songwriting, you can write for a bunch of different people”, which I’m starting to do. Myself I don’t know, I don’t know where my strengths lie. I think I’m a person who’s just all about the vibes.

Not many people know but your also a budding film director and editor having edited 5 documentaries aired on national TV, and directing and editing 3 music videos. How does this other passion of yours fit in with your music career?

When I started doing it was more of a case of being able to earn money from something other than a 9-5 job that would still allow me to make music. By doing those small documentaries, I then figured out the ways to make music videos. I watched a bunch of stuff on TV, and tried to dissect it, read a few books. Now it’s easier for me writing the music, and then having the vision to be able to go straight and direct the video a week later if I need to. I don’t have to worry about too many different influences changing up the idea or the story it was when I wrote it. People say I’m doing too much and you can’t be jack-of-all-trades. It’s like if I make a song that’s my baby, I don’t want anyone to change it. It’s a gift and a curse.

Your lyrics have been described as ‘conscious,’ what does this mean to you?

Just real, I support the people who are affected by the bullshit that we have in society. I make the music that people like that will hopefully connect with. The people that have issues with poverty, with the general struggle and I’m not one to talk about ‘I’ve got this chain or I’ve got money, or I’m going to this club’. I’ve done that before even myself I know it’s not real.

Your music and lyrics possess great realism. To what extent do you draw upon your own life and past when writing, and how do you think people who have not had similar life experiences will relate to elements of your music?

Everything I write is straight from personal situation whether that be relationships, ‘Need Somebody’, that’s another relationship track. With that realisation of this isn’t really me, I don’t really like making these tunes, and then ‘Be Like You’, came about from that situation. So it’s straight what I’m going through to what I’m putting onto paper. People who don’t relate lyrically I hoping they relate to the production the way I’m trying to merge different styles with the soul music with drum n bass, dubstep the neo-soul. I’m hoping they relate to the music and the vibe that way.

I witnessed one of your live shows, which blew me away. How do you make sure you keep everyone’s attention during live shows?

That’s kind of hard because I’m a little bit shy. Sometime I have a little bit of trouble with that. Having a good band that is of a good standard. I try to play a lot of my shows with different artists, so one time I might do an acoustic with a guy from Liverpool called Phil, or I might do another acoustic set with Dev from Radio 1, or a band from London. I try and switch it up and keep everything a little bit different. I just try and get rid of the nerves and the shyness and just let people enjoy my personality and hope it comes through in my music.

 

You have several forthcoming international releases planned, both in Europe and in Africa, which is notable for an artist in your stage of their career. Why have you aimed your music at a wider audience before solidly conquering the UK market?

The Internet brings all these different places so close together. I think it’s so accessible to be able to release music in separate countries. I got signed by a company who distribute over 9 different territories, so they are set up to do distribution and handle the radio and the marketing over there whilst I’m over here. I don’t have to do much in the sense of going out over there. They want me to reshoot another video for ‘Child Of The Ghetto’, which is more based towards a European market. We shot it in the Caribbean, so I think they want to reshoot it because the Caucasians won’t relate to that struggle of the ghetto in the Caribbean or the black ghetto. They want to tailor it more to the concentration camp situation, where the word ghetto actually comes from.

You’ve started on your debut album, which will be released next year. Can you let us into any secrets about what we can expect from it?

You can expect the same kind of storytelling lyrics wise. The same kind of elements of the conscious artist, but more upbeat tracks. I want to really lift my live shows, because I’ve watched some of the videos back from some of the shows I’ve done, and at the moment I’m lacking the songs that can raise the energy levels when it comes to performing live. My catalogue of the new sounds of music is what I’m lacking so stuff with MJ Cole, Nutty P, and Stinkhabell. Some of the artists I’m looking to work with on the album are Donaeo. It will be the same kind of stuff, but just elevated in terms of production and the artists I’m working with as well. I’ve got some tunes with Ratlin on there, Incisive, Exo, Benny Banks as well. I don’t want to have too many features on the album, more production features.

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October 18, 2012

Sincere [Interview]

With a solid, loyal underground buzz behind him and the highly-successful releases of the ‘Ain’t Nobody Like You’ and ‘Deju Vu’ in his pocket, rapper Sincere is gearing up for a momentous 2013. The Wrap Up’s Shireen Fenner went down to the Red Bull studios in London to chat to the rapper and entrepreneur about his clothing line, career progression and crossing over genres for his upcoming album…

The Wrap Up: Hi Sincere! So, how would you apply the definition of Sincere to your personality and your music?

Sincere: I can apply it to my personality because I would say I’m a loyal friend and a good person. I tend to tell the truth 99% of the time. I mostly say things that I mean. In terms of my music, I don’t think I’ve ever lied in a song – ever, ever ever! I’m a sincere person.

TWU: When you were younger you were called Little D, right?

Sincere: Yeah, but then I wasn’t little anymore, so it was like, ‘how can you be called Little D when you’re taller than everyone in the room?!’ I changed my name when I watched the film ‘Belly’; I think Nas was in the film, he had the same white Avirex jacket as me and everyone was like ‘ahh you look like Nas in ‘Belly’ – he was called Sincere in the film.

TWU: You came into the scene at a very young age, featuring on a track with Skinnyman. How do you think you have matured as an artist?

Sincere: I was still in school at that time; I had one verse on the song and I wrote the chorus. The music was totally different; this was before Channel U and 1Xtra – before it was what it was. I’ve definitely progressed and the sound has moved forward; I’ve become a better artist now. I understand music a lot better; I’m more involved from the beginning stages of a record, from before the production is even made.

TWU: How do you think the music industry has changed since then and what is the most important thing you have learnt?

Sincere: Consistency. Anytime anyone asks me what advice I would give to an up-and-coming artist, I would say just stay consistent. It has changed because we’ve got things like Twitter – it’s one of the most amazing things. The other day I saw that a kid’s display picture was a picture of me and they had a caption saying ‘Sincere is the best…’ I mean, wow, you couldn’t see that before! Now it’s so instant and you’re so much more direct with the fans. There is so much more power in the artist’s hands, whereas before you could only get the spotlight on radio or TV.

TWU: Your last track ‘Ain’t Nobody like You’ was very well received. Can you talk us through the new one, ‘Déjà Vu’?

Sincere: I would describe ‘Déjà vu’ as the big sister of ‘Ain’t Nobody Like You’. Not an older brother, because an older brother would come in shouting. The older sister is bigger and more authoritative. It’s a bit classier and a bit more polished; but you can still hear that the tracks are related. That’s what me and Kidbass aimed to do; we didn’t want to lose anybody who like ‘Aint Nobody Like You’, but we opened up the sound to a wider audience.

TWU: Kidbass is a longtime collaborator of yours. Do you think it is crucial working with someone who knows you well?

Sincere: Yes. I think I’ve been lucky. If I didn’t have Kidbass it would probably be different. Look at Drake and how he works with [his producer] 40; you know that it is a Drake record. You can’t get that sound unless you go to 40 and he doesn’t really give out that sound. That’s what working with your own producer has allowed me to do; it is dope, because no one can have my sound.

TWU: What do you think ultimately sets apart British hip-hop from US hip-hop?

Sincere: Hip-hop was made in America by a Jamaican person. British hip-hop is probably grime in its purest form, if you look at it. That is Britain’s version of hip-hop. The accent, the production… we have a much more diverse music scene here, whether it be D&B, house, garage, grime, hip-hop – in one day, a British person can listen to so many different genres and styles of music.

TWU: You have collaborated with many artists from the UK. Who do you really rate and who do you predict is next to blow?

Sincere: I rate a lot of artists – I love UK music. Probably one of my favourite rappers on 140bpm would be Scorcher or Ghetts… G FrSh, Wretch, Chip… and I like Sneakbo; he’s sick, he’s got his own style. Next to blow? There are a lot of young cats coming up like Krept & Konan, Yungen, Cashtastic – they’re all dope. I can’t predict whose next to blow though, I’m not Nostradamus, I’m just Sincere. [laughs]

TWU: You also run your own clothing line, ‘XYE’. How did this come about and how involved are you?

Sincere: I am really involved – down to picking the materials. I met these guys, the House of Billiam – they run a clothing company based in Shoreditch. I sat down with them and spoke about the idea of making a clothing company. My record company is called Young Entrepreneurs; that where the ‘YE’ comes from. The ‘X’ comes from maths – it can mean anything, it’s ever changing. I want to be about a lifestyle, because I came up watching people like P.Diddy and Jay-Z – for them, it was always more about a lifestyle as opposed to just one song.

TWU: Can you tell us something about yourself that no one else knows?

Sincere: I have a stutter, but you wouldn’t know that from hearing my music. I have a stutter when I speak, I’ve had it since I was a little kid and not many people know.

TWU: Is there an album in the pipeline anytime soon?

Sincere: My album is called ‘Yours Sincerely’ – that will be out in the middle of 2013. I’ve been recording with a few great artists such as Wretch 32 and Popcan; we’ve got a big song coming out soon. It’s sounding very futuristic and we’re crossing genres – dangerously sometimes! Put on ‘Déjà Vu’ and then play Wacka Flocka ‘Hard In The Paint’ – you can dance the same way. You don’t realize, but you can. We are crossing genres like that and hoping it will be successful.

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October 10, 2012

Nas [Interview]

When we heard Nas was in London performing tracks from his new album ‘Life Is Good’, we were excited to say the least – so you can imagine how we felt when the opportunity arose for us to sit down with one of hip-hop’s greatest artists for a chat. The Wrap Up’s Shireen Fenner talked to ‘The Don’ about the recently released video for ‘Cherry Wine’ featuring the late Amy Winehouse, rumours of him not writing his own lyrics and future collaborative albums…

The Wrap Up: You always rep your hometown of Queensbridge, New York. How did living there influence you and what connection do you still retain?

Nas: That is where I was raised; it taught me everything. I grew up with the heroes of music; Marley Marl and his production, MC Shan. Lots of big records were made in that neighborhood by Marley Marl, to Salt ‘n’ Pepa and Heavy D. Lots of pioneers did their first hits with Marley Marl in the studio in my neighborhood. Of course, I was too young to notice at the time, but I just loved the musical history from my hood. I’m like, ‘wow, this place is special’ – it blew me away.

TWU: As a poet, you are outspoken at times. Do you stand by everything you have said over the years, or do you have any regrets?

Nas: I don’t have any regrets. The things that I have said when I was young and curious about whatever the subject matter was, I respect those – those are growing pains. Even if you make mistakes, I go back to those things, my not-so-great moments because those are my truest moments; those are my human moments. I’m not even mad at the things I said that were a little dicey.

TWU: You have been called one of the greatest lyricists of our time. So how did you feel when there were rumours that you don’t write your own lyrics?

Nas: Nothing. Nothing at all. I felt a little bit like Shakespeare, if I may be so bold. They said he didn’t exist. They said that a bunch of poets combined were Shakespeare. That’s funny, it’s funny! I take it as a high compliment… actually, that’s too much of a compliment – I have to humble myself.

TWU: You have been in the game for a long time. Can you tell us the lowest moment of your career and the pinnacle of your career to date?

Nas: I don’t really know the lowest moment; I’ve always stopped something once I saw it becoming a little too big. We come from banging on the tables at lunch time and freestyling raps at elementary school to actually having records and albums – that’s enough! That’s already an amazing accomplishment. Whenever I received too much praise, it just didn’t feel right to me – ever. I was always in control of how big it [the movement] got or how much it chilled out; I was for the most part in full control, so I’ve been all good.

In terms of pinnacles, I’m always trying to outdo the next thing. Bruce Lee said something like, ‘there are no limits, only plateaus, and you must not stay there, you must go beyond them…’ I’m a fan of Bruce Lee, but I believe there are no plateaus. You continue to grow… I don’t know if I have reached my pinnacle.

TWU: The video for ‘Cherry Wine’ has just been released – can you explain the concept of the video?

Nas: It was touchy – I just wanted to respect her [Amy Winehouse’s] memory. She was not like any of these artists that are out today; it had to be done in a way that was right. I had to make sure it didn’t look pop; I had to make sure it felt natural. The director made it happen, he knew what I wanted – I love the way it came out. Of course, we all wish she was still here with us to do the video, but I’m a rider and I’m keeping that memory alive.

TWU: Kelis and your daughter are talked about subjects on the album ‘Life Is Good’. How important was it to you to wear your heart on your sleeve lyrically?

Nas: It was really important. When I was writing the record, those were the things that I was dealing with. I went to the studio to record other records, but the stuff that was weighing heavy on me was what I winded up writing about.

TWU: ‘Belly’ is one of my all-time favourite movies! Do you have any plans to act again in the future?

Nas: [Laughs] Yes, I do. I walked away from it. I wasn’t into acting for a long time, I did the TV stuff to see how I felt about it again and I liked it so I’m ready.

TWU: What are your thoughts on the new generation of rappers?

Nas: There are some real good artists out there, like Big Sean; everything he is on, he does his thing. There’s so many that are doing what they do – it keeps me excited to watch where they’re going to take it – they also push me.

TWU: Share your thoughts on UK music with us.

Nas: I like the great artists from here, from Slick Rick to Sade to Phil Collins, George Michael and Soul II Soul. I also like the artists before us, like The Beatles. There is a great history musically here. I also really like the underground rap scene here; I can’t remember names, but I will see something from time to time that really impresses me and is really dope.

TWU: There have been talks of three collaboration albums in the pipeline between you, Mobb Deep, Common and DJ Premier. Are they still going ahead?

Nas: The one that was really meant to be happening was between DJ Premier and me; we’re talking. I definitely have plans to do more collaboration albums in the future. I’m a big fan of Common. I’m a big fan of Scarface; I’m a big fan of so many people, from Jeezy to… well, there are a lot of people’s music that I respect. I don’t know who I will collaborate with, but there’s a great chance of something happening.

Nas will be performing at the o2 arena on March 19 – for your tickets, head to TicketMaster.

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October 1, 2012

Dillon Francis [Interview]

Dillon is a young DJ/producer from Los Angeles’, known for being one of the biggest names in Moombahton who has quickly risen to reputable heights in the electronic music world. He is supported and singed to Diplo’s Mad Decent label, and worked with and released an EP on Skrillex’s OWSLA label. Known for his world class remixes as well as his own releases such as ‘Westside’ and ‘Take Me High’ that have been supported by world renowned producer/DJ’s including Sinden and Rusko, it is safe to say will be hearing more from Dillon in the very near future. You can catch him live as he embarks on his debut UK and European headline tour.

 You seem like an interesting character. How would you describe yourself in a few sentences?

I’m just a guy that makes music and likes to make jokes, that’s it! I’m not a complex human being, but I really do love cats.

How did you get into DJ/producing electronic music?

The first time I ever heard Bloody Beetroots’ ‘Ill to Destroy’ while I was in my friend’s Jeep Cherokee is when I realized I wanted to DJ and produce electronic music. I fell in love with the song and with dance music and knew I wanted to be a part of it.

Are you still into graffiti?

I like looking at it, but I don’t do it anymore.

How would you describe your music to us in the UK?

My music is very bubbly, bouncy and it makes you very happy.

What do all these terms actually mean, Moombahton and Luvstep?

Moombahton is bubbly, bouncy music, and has great Major Lazer tropical vibes. Luvstep is very lovey, happy dubstep. It sounds like you’re going to go on a date, and this it the type of music you would actually be able to play for a girl and have the girl enjoy it instead of thinking it was robot music. It’s very happy.

Your music got heard quite quickly. What do you think it is that makes you different from other producers?

The thing that makes me different from other producers is that I don’t put my pants on like every other producer in the morning!

 What was Diplo’s reaction when he heard your track ‘Masterblaster’, and how did he support you from there onwards?

My old manager sent it to Diplo and then he let me know that Diplo really liked it. After that I reached out to Diplo on twitter and that’s when he told me to go by the studio to hang out.

Your signed to Skrillex’s label and worked with him on your EP? What have you learnt from him?

I’ve learned a lot from Skrillex.  He is a genius when it comes to sound engineering and it’s pretty insane how things naturally come to him and how great he is with music.

You recently remixed Flux Pavillion’s ‘Daydreamer’ featuring Example, what drew you to this record?

Flux is one of my really good friends and he asked me to remix it. I said yes because 1) it’s flux and 2) because it’s a great song! Example is a good friend of mine as well, so doing the remix was a no-brainer.

What is the electro/dubstep scene like in the US, particularly Los Angeles where you’re from?

The electro/dubstep scene in the US is very good and is always evolving.

Where’s your favourite country to play out to apart from the US? Which country really appreciates your sound?

UK and Norway are both my favorite countries so far and I feel like they both really appreciate my sound as well.

Which UK producers are you rating right now?

UK producers I’m into right now are Netsky, Doctor P & Calvin Harris.

What does the future hold for Dillon Francis?

I am working on a bunch of different singles that will be coming out on different labels like Mad Decent, OWSLA and Calvin Harris’ Fly Eye label.

 

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September 19, 2012

Devlin [Interview]

Two years has passed since Dagenham rapper Devlin delivered his debut album ‘Bud, Sweat And Beers’ – now he is back and gearing up for the release of his second album ‘A Moving Picture’. After recently giving us a taster of what is to come with the free download ‘The Director’s Cut’ mixtape, The Wrap Up’s Shireen Fenner headed down to the Adidas HQ to talk about his new single ‘Watchtower’, acting and the realness of his lyrics…

The Wrap Up: Hey Devlin. In the past, you have been associated with O.T and The Movement. What is your background with these two crews?

Devlin: I got involved in O.T when I was growing up and first started listening to grime. The Movement started with me and Ghetts; he’s my friend. Scorcher and Wretch [32] were doing their thing and they were so lyrical, we thought we should come together so we could all bounce off each other and better ourselves. O.T, that’s my family, that’s my management, that’s my boys – I’ll always be O.T.

TWU: How does coming from Dagenham influence the content of your verses?

Devlin: I can only write about what I’ve seen and that is a big influence. I am writing about my upbringing and that inspired me to write a lot of songs. It is the place that made me. That’s all I can be, I just try and do me and a lot of people have got behind me for it.

TWU: Can you talk to us about the video to your latest single ‘Watchtower’?

Devlin: Ed [Sheeran] and me just did a move and it all went wrong. It’s a short film, with a cinematic vibe. Usually you get a video where you’re looking down the camera performing, but this one it was all about the acting.

TWU: Many of your peers have got into acting; is that something you would consider?

Devlin: I really enjoyed it, but it was nerve racking as hell! I’ve always respected anyone who has a pop at anything in their art form. I really enjoyed it. I also thought Scorcher, Asher D and Kano did really well in ‘Top Boy’. Who knows? I might follow in their footsteps one day if the role is right.

TWU: The Dylan and Hendrix versions of ‘Watchtower’ are timeless classics. Was there pressure when creating your version?

Devlin: Going back to what I was saying before, all I can do is me. I’ve had a go; I’ve wound up a lot of old people who are disgusted that me, Ed and Labrinth have even tried to cover the song.

TWU: ‘Watchtower’ is a clear divergence from your general style. Did the alternative instrumental influence what you wrote about?

Devlin: It is a hip-hop beat still. Just because the sound is different, it doesn’t mean you can’t make that sound as crazy, or as different, or as synthetic as possible. You can take those tempos anywhere. To me it’s still a rap song, it just sounds rocky – its rocky rap. The sound of the record definitely influences how you write or what you write. With a concept in mind, I wanted to sit back and look at my life over the last two years in the industry.

TWU: It’s been two years since your last album ‘Bud, Sweat and Beers’. How will the forthcoming album ‘A Moving Picture’ show the evolution of you as an artist?

Devlin: It’s just a natural progression; my sound is a lot more professional and grown. I’ve got two years of being in the mainstream to write about. I’ve played Wembley, I’ve done my own tours and I’ve done things that were a dream up until two years ago. I’ve got a lot to draw inspiration from and a lot of new things to talk about. It’s been an emotional journey and I want to try and capture that in the album.

TWU: Dazed and Confused magazine called you ‘one of the few MCs daring to say something different’. How do you feel about this statement?

Devlin: For a start, I appreciate that. There’s a negative element about my music, not all the time, but everyone’s painting a happy picture out here, I’m just trying to paint the picture that I see. I just try and see things, rather than making a song about a Rolex, or having millions of birds wrapped round me. I can only draw on what I’ve seen and paint the real picture.

TWU: What do you think a UK rapper needs to get a number one?

Devlin: You’ve got to be clever with it. You could have a straight up rap song and I don’t think it would get to no.1. That is why you put the choruses on there for these singles and try and play the game. The more pop you go, the more successful you become. I can’t go that poppy, but make a funky house tune and talk about birds, diamonds and watches; then you’ll end up at no.1. I doubt I ever will.

TWU: Lastly, who would you say is the hottest UK femcee?

Devlin: I’ve not known that many female artists over the years. No Lay and Baby Blue, they’ve been lyrical, they’ve had flows and they’ve been about for quite a long time. If you’re a good looking bird I’m not that fussy. I’m a brunette man…

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September 17, 2012

Dru Blu [Interview]

Dru Blu formally known as Don Strapzy is the rapper hailing from Lewisham, South London, who has steadily over years been making a name for himself in the UK rap game.  The want to turn his life around is what made him get into music and take it seriously, becoming an inspiration to others. His debut album ‘Fingers Crossed’, is set to be released later this year with features from Young Mad B, King Zion, Professor Green, Davinche and The Thundacatz to name a few. Shireen Fenner talks to Dru Blu about his name, being from South London the message behind certain songs, the UK rap game and more.

Where did the name Dru Blue come from?

My names Andrew and I’m from Lewisham, which is also blue borough. It’s quite simple, that’s it.

Why did you change the name from Don Strapzy to Dru Blu?

I changed my name because it was holding me back, there were to many political problems with that name. I couldn’t get certain shows, and DJ’s weren’t supporting. I just changed it before I got bigger and it became more of a hurdle.

 What was it like growing up in South London?

It’s my home, it was good, it was all right, I’m not going to lie. Of course it was a bit rough at times but that’s what makes me who I am.

 Do you think its influenced you music, life and beliefs today?

Yes of course. Things I’ve seen and things I’ve been through influences me and what I write about. Most of my memories are within South London.

Tell us about your involvement in MC contests around South London.

When I was growing up when I was in school, I used to clash certain people, and go to youth clubs and that all over South London. It was quite competitive, but it was good.

 

 You write some thought provoking songs such as ‘Survive’ and ‘She’s Gone’ so what is the motivation behind them, and are they based on real events?

‘She’s Gone’ was because I lost my niece, my sister’s daughter, which was a very emotional time and I used that to write about it. The verse was about a girlfriend, which was just so more people could relate to it. The tune was dedicated to my sister and daughter. ‘Survive’, was because it was a cold winter and you always see homeless people on the streets, and it made me realise how lucky we are. A lot of us complain about how hard life is sometimes, but were very lucky really. There’s people out there that are struggling much harder than us, so that’s what it really was, ‘Survive’ was for the homeless people and we did it for the charity Broadway, and just gave everything to them.

Thematically what does your music talk about normally?

I’m quite versatile, I talk about a lot of stuff, sometimes banter or it might be more emotional deep stuff, also football people know me for my football I love football. There’s a new dream team coming out soon as well. I prefer to write about more emotional stuff

 What was the first hip hop song you ever listened to?

Ohh flip. Probably Eminem to be honest, Jay Z I can’t really pinpoint it.

 Music means something different to everyone, but what does it mean to you?

It means hopefully the opportunity to get rich. Other than that music is life, everyone listens to music, whether your rich and your famous or your poor and your struggling, you still listen to music. It’s a worldwide language, it doesn’t matter how you’re living your life. Music is very important to me; I would listen to it even if I wasn’t a rapper. It’s a way for me to vent my stresses and express myself.

If you weren’t doing music, what would you be doing?

I’d be out here, probably have to go and get a job somewhere. I used to do football which I still like, I got my coaching badges so I’m qualified as a football coach, so I’d probably be doing that. I used to do it before music.

 What was your dream as child growing up?

To be a professional footballer

 You’re using your music to try and turn your life around, but why?

I’ll be honest, I was going down bit of a bad road at one stage in my life, when I was in school and just come out of school. A lot of my friends are in jail and some of them are dead, and it’s like music was my chance to change my life around. At one point I couldn’t go to certain areas, there was people that I had issues with over stupid things, and now through music I’ve managed to link up with a lot of people from a lot of different areas. It’s given me a career path, I’m serious about my music, it’s realistic to me. If my music wasn’t going anywhere I’d be the first person to say it’s not working and go and get a job. It gives me something to focus on and concentrate on, and get away from the roads. Instead of sitting on the block and doing nothing, I’m here doing a video shoot.

 Do you class yourself as a role model?

It would be nice to be looked upon as a role model, but that’s a lot of responsibility, I wouldn’t describe myself as a role model, everyone is human and can make mistakes. It would be nice to influence young children and other people for positive reasons. I want to be rich, I don’t know if I want to be a role model. It’s a lot of responsibility, when your out there you have a responsibility to your listeners to act in a certain way.

 If you could work with anyone, who would it be?

Jennifer Lopez or Alicia Keys, nah I’m joking. Musically Adele or Jay Z as a rapper or Eminem, other than that Coldplay. I’ve worked with the majority of UK rappers. I rate Exo from USG I like the way he moves and his music.

 How do you see the UK rap scene progressing?

It seems very healthy at the moment and it’s progressing well. It’s in a good state, and its important to artists like myself to cross over soon. It’s very congested at the same time, you have to look at yourself and separate yourself. People from overseas are watching us.

 Who would you predict as the artists that will crossover?

K Koke is signed to Roc Nation and has got a big buzz. Benny Banks is doing well; his last single did really well. Cashtastic. There is a handful of artists who I think are on the fence, and this is a very important year and will show who’s ready.

What can we expect from you next?

This is an exclusive for you lot. I got one single “Living The Dream’, which is releasing in Australia. Warner Australia wanted it. I got my ‘Let Me Loose’, single dropping in June, I shot the video the other day so that will be out on TV in a couple of weeks. My next single is featuring Professor Green, I don’t know when that will be, but there’s loads of stuff coming. Just keeping busy, my name will be popping off anyone who wants to know about my name change just YouTube Dru Blue vs Don Strapzy to find out why.

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August 21, 2012

Donaeo [Interview]

Donaeo is the UK’s underground kingpin, breaking onto the scene at the age of 16 when he made his debut with ‘My Philosophy (Bounce)’ in 2001. He is not only a singer and a rapper, but has to more qualities to add to the list as a producer and songwriter. His classic, notable tracks include ‘I’m Fly’, ‘Party Hard’, ‘Devil In A Blue Dress’, and ‘African Warrior’. Shireen Fenner headed down to catch Donaeo at his music video shoot to get to know more about the man who has sent the clubs crazy with his anthemic songs.

Your name means Gift from God. What do you think is the most important gift you have been given from God?

Oh wow. Them questions their yea, that’s a new one. Usually I’m prepared because everyone asks the same questions and I just kind of say the same thing and change it up a bit. My family and my friends, that is the best gift I’ve got before anything. They keep me sane and happy, otherwise I’d be miserable.

You were signed from 17, and then at the age of 23 decided to take a break from music. How did you feel during this period, and was it hard getting back into it?

I didn’t choose to get back into music, I was forced. I left music at 23, I went and got a job at Carphone Warehouse and worked my arse off. Then I was only making music because whilst I was working there, I started seeing a lot of good people doing a lot of bad things for money. I thought it was a bit of a liberty that I’ve got a talent and I’m not really using it, and there’s other people struggling out there. I worked at Carphone for 6-7 months, and then I worked at another place for a year, by the end of that ‘African Warrior’ blew up and I was forced to choose. Whilst I was working I had to take 2 or 3 days off to perform at Glastonbury for example, and I’m telling my work that I’m looking after my mum, there’s only so many times you can say I’m looking after my mum before the manager takes you in. It was affecting my job, and my job was affecting my music so I had to choose.

You have been making music since your teens. What do you feel is the most important quality to ensure longevity and success in the industry?

Hard work, and that’s it really. If your willing to work hard, then that’s really the basis for anything you do.

You have ADHD, how do you take your excess energy and channel it somewhere purposeful and productive?

I experience things a bit differently, if I’m happy I can be overly happy, or if I enjoy a tune I can overly enjoy it. I always search for that feeling. Even if I feel successful I feel it overly. It makes things a bit more extreme for me, my emotions and things like that. I use it as a positive instead of a negative.

You are known for being a producer, singer, rapper and songwriter. Which of these labels do you identify with the most?

All of them, its all one thing, to everyone else it’s four things, but for me I make a beat, write the song, sing on it and rap on it. I would say I prefer producing, but I like rapping, like we were in the car today, and I was bussing lyrics to them guys and they were laughing. I like that feeling. All of it is hard work, if you were to ask my do I like performing or being in the studio most, I’d say being in the studio. I prefer the creative side of making music; With performing after a while you have a structure whereas when your making new songs, even though there is some form of structure, your always creating something new and searching for something new.

What was the toughest ordeal you had to face when it came to getting your music heard?

Dealing with everyone. When your not successful you have an idea of what you want to do and you go for it. When you become successful and you start meeting people that you look up to, you get opinions from everyone and its hard to decipher what opinion is right and what opinion is wrong, to what opinion people are giving you for themselves. You have to go through that to understand that maybe your original opinion was right in the first place. It’s always good to listen, but when you become successful, there are so many different things you have to deal with, because everyone wants a piece of you. Then there’s the whole thing that you become a money cow, so you have to decipher whether people are working with you because they want to make money from you or because they want to make money with you, there two different things. Then there’s the whole manipulation because when you blow up, maybe two or three labels want to work with you, and you don’t know which one is right or wrong, but really all of them are the same.

What is the most notable song you have worked on for someone else to date?

I helped write ‘What You Talking About’ for Ms Dynamite and ‘Selecta’ for Mz Bratt, I helped write ‘On My Own’, and ‘Light Up The World’, for Yasmin, I think ‘Selecta’, for Mz Bratt you know. I’ve always had a lot of faith in Bratt, but a lot of people look at her and think she’s pretty so she’s not really heavy, when we did that song everyone changed their opinion. All the other songs, everyone believed in the artist already, but with Mz Bratt I had something to prove, and I think I did.

You’ve had a lot of recognisable hit songs that still get played in the clubs and radio now. Which one would you say is the most popular?

‘Party Hard.’ Worldwide ‘Party Hard’, is the biggest. In England ‘I’m Fly’, is bigger than ‘Party Hard.’ I can play ‘Party Hard’ and some places people are bored of it, I’m still getting responses from ‘I’m Fly’ now, but worldwide ‘Party Hard’ is my biggest song.

When you wrote ‘Party Hard’, ‘Devil In a Blue Dress’ and ‘African Warrior’ did you ever realise they would become classic club tracks? 

Nah, I make music for myself, I want to know that my songs make me feel how a Snoop song make me feel or a Neptunes song, so when I made these songs, those songs gave me the same feeling that my favourite artists songs give me. That is basically all I do.

Where do you get your best ideas?

I like having my own space and walking around. Even when I was in primary school I used to walk home, my mum and dad used to give me money to get home, but I’d rather walk. I like being in my own thoughts, maybe that’s why.

You have worked with a lot of UK talent. Who would you say is really pushing the boundaries for the UK scene right now?

The young rap lot are pushing the scene like Squeeks, Yungen, Cashtastic, Joe Black, Ratlin, for me those guys right now are doing something that my generation couldn’t do. The younger generation identify with them when it comes to rap, my generation was about funky and grime, but everyone wanted to rap. Whereas these guys have found the way to identify with young British culture through rap, it’s going to be interesting to see what happens. Even Wretch 32 going to the charts with rap and Giggs getting signed, these guys are really doing well, and this is the first time England has been able to do that, and that within itself is a boundary that has been pushed, that has been tried to be pushed for so many years. It’s not mainstream they have a strong underground buzz. Chipmunk is signed to Grand Hustle, yet he’s coming back and doing tunes with Krept & Konan and Yungen and the tunes banging, it’s just very interesting to see what’s happening.

You have an album due for release this summer. What can we expect from it? Any collaborations we can look forward to?

On this album I’m going to have collaborations from Squeeks, Joe Black, Ratlin, Dru Blue, Lethal B, Artful (Artful Dodger), and Jakwob I’m hoping. The rest of the records are produced by me, and Mz Bratt is on there too. It will be banging. It’s going to have a lot more hip hop and r&b, there’s a want for it, so I can put it out.

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August 13, 2012

*EXCLUSIVE* SCORCHER AND GFRSH [OFFENDER INTERVIEW]

Check out my interview with Scorcher and G Frsh where we talk about their new film Offender.

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