A pixie's everyday writing adventures
Check out what went down when I went to interview E.X.O from USG for Channel AKA ahead of his first single release after his signing to 36o Records. Filmed and Edited by YungCapes & DmanTheDesigner
They Call Me E.X.O is out now available to buy from iTunes here.
So, can Clement Marfo function or exist without The Frontline, or The Frontline without their frontman?
CM: That’s a good question. I was a hip-hop MC before this, and a mutual friend hooked me up with Dion, and Dion knew other musical people and recommended them to me. Everything just came naturally; and I swear, if I wasn’t with the band, I don’t think I’d be in this position.
Dion: As a band, instrumentally we can hold it down, but this dude’s stage presence and energy is amazing. We bounce off each other. If any of us out of the seven wasn’t there, it just wouldn’t feel right.
Your sound has been described as a fusion of grime, hip hop, rock, pop and R&B – is that how you’d put it?
CM: The thing is, you can’t put us in a box. There are seven of us with different backgrounds. Dion’s into his rock, I’m into hip hop, Kojo’s into soul, Stacey’s into pop… there’s different aspect of things. We can cross genres. I would say hip-hop rock. We borrowed those elements and incorporated them in our music.
Do you think by mixing up all these genres it unites today’s youth?
Dion: I’d say so. I’ve met people that are strictly grime or strictly rock, and the two worlds just can’t understand each other. I feel as a band, hopefully we bring it all together. Kano did ‘Typical Me’ – that’s when everyone started to go, ‘OK.’
CM: People are borrowing elements. I think we’re in this generation where it’s not like your jazz, your hip hop, your pop; everything’s mixed around. When you come to our show there’s a wide demographic; there’s kids, adults, teenagers, black, white, Asian people. It appeals to everyone, not because of the music, but because of the seven figures you see on stage.
Does having so many creative individuals within one entity often lead to creative differences?
Dion: No chance.
CM: Were a family. I wouldn’t say not a chance.
Dion: No, because I feel like…
CM: We’re having a dispute right now… [all laugh]. It’s the quality control, everybody puts a contribution in, which is positive. It’s not like, ‘I want this in because I’m a rock guy.’ We all sprinkle our ingredients on it to come together. I’m the frontman.
Dion: Captain Kirk.
CM: There always has to be someone who makes the executive decisions, in a way. You’ve also got to listen, and the guys have got so many valid points, it makes you think outside of the spectrum.
How do you begin to make a song, with so many of you involved?
CM: There’s two ways: One is where a producer might come up with a little snippet of a beat and we kind of loop that and put an instrumentation of that. Or we go in a rehearsal studio or a sound check, for example, and come up with a natural jam.
Dion: We’ll go into a rehearsal room and start jamming and doing our thing, and Clement will come out with some screenplay, he’s very visual.
Tell us about your latest single ‘Overtime’. What has the reaction been so far?
CM: This is the first step in the door, I think. With this track we’re here to set a mark and the response has been crazy. It’s No 2 on the MTV Base Chart, and Radio 1, 1Xtra have all been supporting the track, and it’s got us MTV Brand New for 2012. The track is about nobody works harder than us, it’s about work ethic – in order to get where you are you have to work harder than the people around you. Someone like Ghetts, his work ethic is crazy – every year he’s got singles, mixtapes, collaborating – he was perfect for this.
Your second single ‘Mayhem’ is out in March, so tell us about it…
CM: We’ve had this track for a year and a half now. We knew it was going to have some heat on it, because when we did it on a few shows it gets the crowd hyped. With Kano on it, he just added an extra something.
Dion: He just swagged it completely.
Clement, how do you feel about other MCs on a track, being the group’s rapper?
CM: I like collaborations; I think it helps us as a campaign and as a product. People want to hear a great UK legend on track. If it was any Tom Dick or Harry, I’d be like what’s this?
Dion: For me, if you can bring it…
CM: It’s a very competitive field and it steps my game up. It’s great because these guys are inspirations to me and it feels like I’ve worked hard to be on stage with guys that I’ve looked up to.
What was the track that you feel first got you guys noticed?
Dion: It has to be ‘Champion’.
CM: Yeah. We wrote the song on the day of David Haye’s fight – we wanted an entrance theme, that was the inspiration for it. The day we recorded it, I remember the producer was like, ‘This is it, this is a hit.’ Then A&Rs started coming to our shows: Warner came, Sony came, EMI, it was like, woah, crazy! So after a few months we were offered a contract with Warner Brothers; it was like, damn, massive major label!
Dion: That was one of the best days, but we didn’t want to get gassed.
How long do you think it takes to create an underground buzz?
CM: You can’t blow in six months; you can’t blow in one year.
Dion: You just can’t do it like that.
CM: There are ways, though; with the likes of YouTube you can have one song and blow up. Everything takes steps – you can’t run before you can walk. We’ve been together maybe three years and I believe that’s how long it takes. You’ve got to build a foundation, get the concrete, make sure everything sits perfectly and then you can start building.
Dion: You need to be going out and tearing shows to pieces. I think what’s worked for us is we like to go out and talk to people after shows and just hang out with them. If you want to keep them on board, you have to give them something to remember.
You’ve worked with many great artists. Who’s been your favourite?
Dion: You could ask each member of the band and everyone’s got a different answer. For me, I feel torn, because Ghetts’ energy on stage is incredible, and then Sway, when he came down and I heard his verse, it was just like incredible.
CM: Ghetts matches our energy, and I love that. Sway adds a polish and Kano adds a package full of swag.
What’s the nicest thing a person in the music industry has said about your music?
CM: Mike Skinner from The Streets, we did a gig with him at the Freeze Festival and he said, ‘Keep doing what you’re doing, because you know what it is, I’m not going to make your head big, but you guys are the future.’ This is Mike Skinner, he’s sold millions. ‘The future’, that makes us feel amazing. He’s an icon, a legend.
Dion: There was a session drummer, Ginger his name is, he came down and saw the set and said, ‘That was incredible.’ For me, from drummer to drummer, that was just beautiful.
What can we expect from the forthcoming debut album?
CM: We’ve written 60 songs; I know in the back of my mind there’s eight songs that I want on the album.
Dion: We’ve all got our lists of what we want; because there are seven of us we need to get a shortlist.
CM: Expect something like ‘Champion’, big energetic hooks, full of instrumentations; we’ve got two guitarists so it’s going to be a very rock/hip hop/pop album. It’s out this summer, just before the Olympics.
Is 2012 going to be your year, we expect great things from you?
CM: I wouldn’t like to say yes, 2012 is our year, because I might jinx myself or underachieve.
Dion: I think it is; the momentum at the minute is building, and if we keep going how we are, then yes.
Follow Clement Marfo & The Frontline on Twitter
@ClementMarfo or visit
www.clementmarfo.com
You have become involved in trying to increase the opportunities and possibilities for young people in Detroit to pursue music. What was available to you when you were starting out?
For me it was just the hip hop shop in Detroit, Maurice Malone was a clothing designer here in Detroit, and we had this cypher that we used to used to go and perform and do our thing in this little boutique clothing store, with hardwood floors and print t-shirts with prints on them insinuating different things hanging on the walls. There was a DJ booth a DJ would be there scratching and putting on instrumentals for people. There would be guys from all over Detroit, who would come here on a Saturday afternoon just to showcase their skills. That was defiantly one of the places where I started.
What makes a Detroit rapper stand out from other American rappers? What is it about being shaped by Detroit that is unique?
It’s the mid-west we don’t only take in West Coast music, or South music, or East Coast music, we feed off it all. They have always been in the public eye as far as hip hop is concerned, so we have a diverse sound here, because we haven’t been in the public eye. That’s what differentiates us from other places.
How does being shot in the head change your perspective on life?
Yes it did, it told me to sit my ass down (laughs) and stop hanging out so damn much. It definitely changed my perspective, I almost died from that situation, and the bullet is still lodged in my head. Three months later, Proof got a bullet to the back of his head but he didn’t make it. It definitely was a very eerie and morbid and overwhelming for me. I had to take a break from the media and being in the public eye. I just had to do what I had to do, that was one of the reasons for my hiatus. I always created music and I never stopped working in the studio making music it just wasn’t in the public eye. Then I wanted to establish my own company being that Interscope didn’t want to further an Obie Trice project
How different do you imagine your situation would be if you had not met Proof and been supported by him?
That’s kind of a hard question to answer. I met Proof at the hip hop shop but not as far as hanging out at that time. Our relationship got close when I was signed to Shady, but we did know each other. He was the one that told me to use Obie Trice as my name back in the day, I do love him and he loved me. I always put out music, back to the first question I put out music through a company called Buzz and a company called Landspeed and they distributed my music internationally. That was the outlet for me back then, and Eminem got wind of it and Proof was like I remember that dude, and that’s how things came about. Our relationship just really grew when we were on Shady together.
You have strong links with both Dr. Dre and Eminem. How would you best describe your relationship with the two artists?
Me and Eminem are brothers, we always make music together. It’s just a great relationship, we always have been close. It was a personal when we made ‘Richard’ and it was fun and hilarious in retrospective. Dr Dre is definitely on the same level, he sent me the beat, and I wasn’t actually in the studio with him when I made that record but he wanted to see me succeed and he knows that he has the sound that I like so I’m sure that we will continue to make music together.
What was the reason that you left your previous label and set up Black Market Entertainment?
It wasn’t a split up with Shady; it had more to do with Interscope and Jimmy Iovine. We kind of bumped heads and we couldn’t come to an agreement on furthering the business opportunity. It wasn’t feasible for the both of us and my people at the same time, this is Eminem’s boss, so Shady had nothing to do with that. It was an Interscope and Obie Trice thing. There’s no bad blood with Interscope or Jimmy Iovine, that’s what I kind of explain in some of the songs on ‘Bottoms Up.’ Shady was always supportive and will be my family forever.
How has the reaction been so far to your latest mixtape ‘Watch the Chrome?’
The reaction was pretty good, it was a good look. I definitely wanted to warm up my fans and the people that have been waiting for a long time, and let them no I apologise for the hiatus and things like that. It was to let them know I’m still here with the music, I never really left, and that was basically it.
Why did you call the mixtape ‘Watch the Chrome?’ Is there a story behind it?
I appreciated the ‘Watch The Throne’ album that Kanye and Jay Z made.’ Watch The Chrome’ is the environment that I come from; I wanted to incorporate how things are in my neighborhood and my upbringing where everyone carries a pistol. The chrome is the coating on a gun. I wanted to put that in there and change it up a little bit. I’m definitely still a fan of ‘Watch The Throne’ and that’s where the inspiration came from.
What can we expect from your forthcoming album ‘Bottoms Up?’
I had to pull Eminem’s tooth to produce a record on the album because he doesn’t produce records anymore, he doesn’t go on the beat machine anymore. I wanted to have that old feel also as well for my fans, and then with the Dr Dre joint I wanted to have some of Dre’s influence on the record as well. I got up and coming producers from Detroit on the records that are very talented. It’s like vintage oldie, you can ride to it, and it’s definitely a breath of fresh air from where hip-hop is right now. I believe a lot of people will enjoy it.
How does it differ from your older material?
I never really left so I’m always working, I’m just not in the media, and I’m always in the studio. I guess its just gradual development. I just continue to do what I do, and the records that feel good to me is the ones that I use.
What does Bottoms Up mean to you?
‘Bottoms Up’ was supposed to come out on Shady Interscope and I was going to name it Debt. The situation had changed. ‘Bottoms Up’ for me now is a fresh start for me and it’s a celebration being because that I’m putting out an album on my own imprint, which is Black Market Entertainment. My mother had just passed from breast cancer last year, and she has this picture of me as a baby above her bed in her room so I took that and I was going through all the things and getting her stuff together all her photo albums when she passed away. I came across that photo and thought this is where it all began from, so I just wanted to use this photo as the album cover. ‘Bottoms Up’ I’m a drinker as well, so it all fits.
How did being raised in Cape Town play a part in your journey in music?
I lived on the outskirts of the Cape Town flats and near a township called Khayelitsha… Half the kids from my school lived there so obviously that was where I played and ran riot as a younger. Music is a big part of people lives in the townships, they don’t have much, but they do have each other and music. It’s not rare to find groups of people banging water drums and homemade instruments and I used to watch and dance along with my mates. Then obviously as a kid you start to want to get involved so I started banging drums and singing with everyone. It was a fun time and I learned a lot. My parents also owned a large Music Bar and I grew up in the “Bar Life” surrounded by singers and bands. It was cool as a kid. I used to love it.
Your parents were singers. Would you say this had a big impact on you?
Yeah well my dad is a great singer, he won’t admit it now though but he used to sing Roy Orbison songs at the bar nightly and was amazing. He sung all the oldies, Roy, Elvis, and Eric Clapton. My mum used to sing anything. She was really talented. I remember even at home, she would always be in the music room with headphones on playing records and singing and making mixtapes. Music was a big part of my family’s life growing up.
Did you always know you would become an artist?
You know its funny, from back then, at the age of 11, when my parents got me my first keyboard, I knew I wanted to “do music”. I have held over 20 different jobs, all in different sectors, including training and becoming a qualified chef. I always felt miserable though and hated every minute of them. Music is all I’ve ever wanted to do.
You also moved to Spain for 2 years. Musically what was the biggest thing you picked up from being there?
Spain is my second home; I have a real strong bond with Spain and feel at peace over there. I have a flat there and try to get over there as much as possible. Whilst I was there, when I was younger I worked in a Flamenco bar. I learned about melody, rhythm and the importance of music as a healing tool. The Spanish see music differently from us; to them it is a very community based activity. Everyone comes together you know?
Do you incorporate Spanish and African musical influences into your production now?
African, definitely…. My thing is percussion. I spend hours getting my drums and percussion right, sometimes before I’ve even written a line I will get that right and then play my melodies over the drums half the time, as was the case on most of ‘Kampain’. Spanish music is a strong influence on my melodies too. As I said, I learned a hell of a lot!
Why did you decide to MC on pirate radio for a year? Was MCing something you had always done?
Yeah I kind of just got into writing lyrics and MC’ing on the garage scene for a while…I still bar occasionally but only very rarely. But my music is my thing now…
Why did you start to take production seriously after being on the pirate radio circuit for a year?
I used to get bored of MC’ing over beats everybody had hit, so I decided to make my own. I sold my car and everything of value that I owned and hustled the rest to raise enough to buy a mac, a Yamaha Motif synth and an MPC. I didn’t even have speakers I done it all through headphones. It took me about 5 months more to get money for monitors! Eventually, with enough practice and WEEKS spend learning on YouTube and from other producers, I started to get good. I remember going into studios with a pen and pad and writing down everything I was shown and told. It was peak, but I done it the right way. I learned to do things properly, and all my own.
Do you believe that to make it in music you have to sacrifice everything?
For me, yes 100%. I sacrificed everything, I still do, daily. I think if you want something bad enough, you will always do what you have to do and par everything else to get that thing. If you don’t, you can’t want it that bad. I have sacrificed everything for my music. You have no idea…. Hopefully now I will start to get the recognition I feel I deserve. In the last year I have not only secured a great working relationship, and gained a good friend in Mic Righteous, but through putting in the years of work, I’ve been able to open for The Game, Talib Kweli and Lowkey with Mic as his DJ/Producer. I feel that’s a good achievement in itself for me, last year no one knew who I was hardly.
How do you decide what artists to work with?
You know what, I will contact someone if I see that raw talent and potential. I’m not interested in gun talk and how much drugs someone sells. I love rap that means something and rappers who are true to themselves and real. I will never work with someone trying to be something they are not. My art won’t work for them. There’s too much feeling in what I do…I don’t think they would get that.
You and Mic Righteous released ‘Kampain’ together. Tell us about what work went into this, and how you both put it together.
I contacted Mic and his manager, (Now also my manager) about a year ago and sent the track, ‘Take Me Away’ with the hook on it. They contacted me back straight away and we got Mic in the studio that week to record it. It went on to ‘Yob Culture’, Mic’s debut mixtape. I guess we just clicked you know? Making a mixtape together just seemed like a natural progression from doing a great track together. Next thing I know, he comes for a couple days and we have done 3 tracks, then comes for another couple days and we do another 4 then a couple weeks and we got a banging mixtape! Mic’s work rate is sickening. Perfect for my work rate.
‘Show Of Force’ is released this Friday 13th April and is an instrumental mixtape. Tell us about the ideas and concepts of this new project.
I decided that the time was right to put out something different for not only the supporters, but for artists who are struggling to find good instrumentals on the web. I have packed it with this sound Mic and I kind of came up with whilst making ‘Kampain.’ It’s got a stripped back feel. I got rid of all the generic snare rolls and “bells and whistles” I hear so many producers pack into their beats, and focused more on the real melodies and live sound that I love to listen to. I also don’t really use samples…No disrespect to anyone but I personally have never been a fan, to me, making music should be exactly that, making music. I have 2 tracks on there that use a sample, but only really to show that I can.
You sing the hooks and harmonies on nearly every track. Why did you decide to do this?
I don’t believe any producer has done it before? I wanted to give the supporters something fresh and exciting…You can listen to it as an album without any artists on it, or record vocals on it…. As far as I know, no producer has done this so I’m excited to see the response.
All my hooks and harmonies are 100% free use. Royalty free.
Which artists would you like to work with next?
I have my eyes set on a few different artists I’d love to work with and also a few up and coming artists I am keen to help develop. I am working on a lot right now.
What’s next for Preston Play after the ‘Show Of Force’ release?
Mic and I will be working on more music and I have a few things lined up to keep me busy. I’m just enjoying what I’ve got myself into and taking it day by day. I still just sit here everyday pouring my heart out into the keys…Hopefully that will get me somewhere…
Show Of Force is out Friday 13th April 2012 from micrighteous.com
Follow Preston on Twitter @IAmPrestonPlay
We haven’t heard much from Sway since his last album release three years ago The Signature LP, but now he has come back with the high impact single, ‘Still Speedin’ which has had Lewis Hamilton and Nigel Mansell talking about it on Twitter. It has various remixes including another one of the UK’s premium rappers Kano, and another from American rapper and producer Lupe Fiasco. This is the first single off Sway’s third long awaited album Deliverance, which is out in 2012.
Jobs before music
For my first ever job, I was a paperboy. I was about ten at the time. I used to deliver newspapers. The last job I had before my career took off was at Gap in Marble Arch, but I don’t think it’s there anymore.
Paycheck
When I was a paperboy it wasn’t a check though, it was like a tenner a week they just gave it to me out of the till. My first cheque was from Universal as a street team boy. I used to run out of vans and hang up posters promoting their artists, that was the first time I got a cheque. I got a cheque for my first mixtape This Is My Promo Volume 1, when I took them in to a record store and they sold out.
Investments
I brought a house in Ghana. I also own my own publishing company, I have three writers under me and they are sub published by my main publisher, so I’ve invested in quite a few things.
Business man
I have Dcypha productions, I have a music publishing company and I’m looking into other ventures as well but that’s between me and the bank. (Laughs)
Money sensibility
I’m 50/50 when it comes to being sensible with money. I have periods when I’m very sensible, and I have periods where I live for the moment. I live a reasonable life.
Impulse buys
I spent £1200 on a suede Roberto Cavalli blazer once, and I thought that was a bit much. I’ve worn it 3 times, because I wore it in a video, I’m conscious about wearing it everywhere else. When you wear something in a video, people assume that you wear it everyday.
Best Advice
It has to be my dad, he tells me not to throw it all away. He’s good at that sort of thing, but he’s not good at taking his own advice.
You have made yourself quite a name as a DJ, and yet your connection to Drake seems to have a large part of your success. Do you think your career would be very different now if you guys hadn’t come up together?
Yeah absolutely, I mean a lot of opportunities come from touring and being able to go to lot of places and have these big shows. From there that’s where a lot of the other DJ stuff stems. Would I be any less successful I don’t know because to me being successful is enjoying what you do and being happy. To me it’s just enjoying the ride and understanding this is something special, not only for me but for Drake too, for all of us.
Have you and Drake ever had any disagreements?
We have a difference of opinion on things, but that’s the best part of our relationship. I got to be honest with him at all times, and he has to be honest with me at all times. We just got to help each other be better at what the other one does; we’re all part of one team. We never have arguments, it’s always constructive, and it’s always trying to help someone be better or help our show be better. We’re too like-minded. Your always going to have difference of opinion it’s just how you handle it, as long as you have respect for each other, nobody will ever get offended or upset.
Any funny stories from being on tour?
I can’t really pinpoint one; its different because you’re with your friend’s everyday so everyday is funny. We’re pretty calm, laid back kind of guys, so nothing super wild. A lot of great things happen at shows that might be crazy to other people. People have tattooed Drake’s face on their bodies, a girl tattooed Drake’s name across her forehead, that’s probably the craziest thing I have ever seen, people committing that much as a fan.
Other than touring with Drake and Young Money, are there any other developments with regard to your solo career?
I still do my own DJ tours and travelling is a big passion of mine so I go to a lot of places I’ve never been to before, that’s what I always try to do with my time off. I use DJ’ing to get to those places, it makes it a little bit easier to know that your going out there to not only explore, but to fulfill a commitment and to be a part of a sub culture that’s within music in these other cultures around the world. Most of my career has to do with touring and being with Drake.
DJ to producer seems to be a natural evolution for many. Are we going to see you in the studio at some point?
I’ve always worked on music and I’ve always been part of the musical process in our team. I produced a remix for Adele for ‘Someone Like You,’ that was something I started and I want to come out with more in the near future. It’s just a natural progression to get into production and making beats and arranging music. I’ve put out a couple of mixtapes before and they’ve done really well for people, it just takes a lot of time to make them really special and really good. When I really settle down and get some time off I’ll start making some mixtapes.
What are you enjoying about the UK music scene at the moment?
The music is amazing; I really like funky house and the culture of Grime, and the sound and everything that embodies that. Coming all the way from North America and coming here and listening to music I’ve never heard before, that’s been built here and made here and is big here and accepting it and enjoying it means that it’s good music. I like good music and the people in the UK really take pride in their music, and they’re very cultured in music, so it’s always been fun for me to be a part of the music scene here. When I land in the UK the first thing I do is really try and find out and get caught up and reacquainted with what’s hot in the music scene. I got a couple of songs here and there that are pretty big that I can’t wait to drop. Labrinth’s Earthquake is a big record.
How has coming from a city like Toronto helped influence and shape you into the artist you are today?
It’s everything; it’s shaped everything that we are. Not only me but my entire team, it’s a big part of who we are. Growing up in Toronto is special you get a sense of culture, you get exposed to so many types of people and so many different walks of life. It makes you very open minded to go explore and understand parts of other peoples cultures that you incorporate into your life. It’s always been the most important part of our influence. London is the most similar to Toronto out of all the places I’ve been, from the people to the sub culture, that’s why I feel very at home when I come here.
Do you ever feel like the impact and importance of the DJ is sometimes slept on, and the DJs role is overshadowed by others?
It really depends on how much of a role you play in ones show. Sometimes shows are really band heavy and the DJ doesn’t really shine much, and sometimes the show is just the DJ and the DJ shines more. At the end of the day anybody who’s up on that stag looking for shine is doing it for the wrong reason. It’s about being part of one sound, whether it’s you and one artist, or you and a band, it’s all about all those elements coming together to make a great sounding show.
What is the most important attribute a DJ should have? Because we often see DJ’s with great technical skill who can scratch and do all sorts of tricks, but couldn’t get a crowd moving in a club if they tried.
The most important thing is to understand people and understand where you are. If you’re in the UK, go find out what’s hot in the UK. A lot of people from America come here and just play the same stuff they play in America, and it doesn’t really work sometimes. You got to be able to adjust, and walk into a room and look at the people and see what they like and see what they’re dancing to and keep up with that. Never play for yourself, always play for the people that are in the room, so I think that’s the most important attribute a DJ should have. It’s the thing I pride myself on.
What is the most enjoyable aspect about being a DJ?
Making people happy, making people have fun. You don’t know what’s going on in their day or in there lives, they could be having the worst day ever, and they walk into your club and it’s your job to take them away from all of that and make them dance for 3 hours and have the time of their lives.
Being able to control a mass of people’s mood and movement and energy is power. Does it give you a rush to know that you are the influencing and moving so many people? Almost like a puppeteer…
It’s an amazing rush when you have hundreds and thousands of people and there all moving to one beat, and your dictating to them, and their excitement and everyone singing along to a song at the same time.Young Money has been amazing, as a collective it’s given me a lot of opportunities to be a part of a change in culture when it comes to music. You can’t get in your car anywhere in this world and not hear a Young Money song.
What doors has being with Young Money opened for you? What does the future hold for future the prince?
Young Money has been amazing, as a collective it’s given me a lot of opportunities to be a part of a change in culture when it comes to music. You can’t get in your car anywhere in this world and not hear a Young Money song. The leverage that it gave me, and the leverage that it gives us a team to be that powerful in music is a great thing. What does the future hold; I don’t know we’ll see. I’ve always been excited about moving forward and taking advantage of the opportunities that happen as they happen. You can always look forward but sometimes you don’t know, an opportunity will come out of nowhere, and you’ve got to take it and run with it and just be ready for it.
679/Warner Records recent signee, Benny Banks is hailed as one of the UK’s rap heavyweights. Shireen Fenner and Maz Halima headed down to The Social in Little Portland Street to see what the rapper had to say about being the subject of diss tracks, Bada Bing and what’s next on his agenda…
M: Who did you aspire to when you started rapping?
I grew up in an older era… like I think American rappers inspired all of us. But over here, Mike Skinner, Klashnekoff and Skinny Man. I listen to a lot of Hip Hop.
S: What track got you noticed by the masses?
I don’t actually know, I think that’s a matter of opinion. Personally I think it was my SB.TV warm up session; that let everyone know I could rap. I would like to think it was that because it was the most meaningful to me – but I don’t actually know.
S: Your roots and experiences in Islington have provided a lot of inspiration for your lyrics, do you think as your situation changes your content will too?
Yeah, that’s the main thing I want people to notice really, the way I’m growing up and maturing. Obviously Bada Bing isn’t the main reflection of Benny Banks; it was just a fun tune init. But I’ve got a lot more music to come. With my content, I’m just going to keep it Benny like, I’m going to be myself, I just want to appeal to a big variety of people rather than just the streets. In general I want to spread it out a bit more, and learn how to word it to make people listen.
M: When did you get signed to 679/Warner and how has life changed since?
November 25 last year. Obviously its changed, but I’m just trying to be the same person, I don’t want to let it get to me. I haven’t made it yet; I haven’t got anything in the charts, when I get their maybe I’ll show off a bit more! But right now I’m still working man.
M: Do people treat you differently now?
I think I get a bit more respect. But I feel like I deserve it so I’m just accepting it
S: Do you think you can get mainstream success without altering your style?
Ummm, in ways, but I don’t really go studio and make a tune specifically for the charts or to attract a certain amount of people. I just write the music and it does its own job. If I keep going with it then hopefully it will just mature. I just got to up my vocab a little a bit, but I’m confident though. I got a vision.
M: You are known for delivering quite dark lyrics in a laid back way. Do you still live the life that you rapped about?
Nah! Course not! Obviously I still mix with the same people I still live in the same area, I just don’t personally do the same things that I did before init. But then again if I wasn’t involved in music maybe I would init. But I’m here now and I’m grateful.
S: You’ve had some beef and been the subject of a few diss tracks… do you expect more of the same as you grow more successful?
Yeah! When a man looks in the mirror and realises he’s underachieving, they get bitter. I’m inspiration for them man, all these diss tracks just make me feel good about myself! None of its true, I’ve never met none of these people in my life, so if they know so much stuff about me, good for them man. I’m getting paid for my music. I dunno man, they’re probably fans! I can’t really comment on people I haven’t met.
M: Which artists and producers would you want to work with this year?
Not in particular, I’m not desperate to work with anyone in general. If I got to work with someone and made a good song… I just want to make good music; I can make good music with someone unheard of.
S: You and K Koke have a strong underground following… do you feel that being a white rapper has helped to an extent?
Yeah maybe, the fact that I am white, possibly, I don’t really agree with that though – I don’t think colour matters. It’s not the 90’s or the 80’s no more but… maybe it helps, but its like ‘why?’ It’s a stereotypical opinion. I just think its talent man. I know there have been some white acts that have been signed like Vanilla Ice or whatever, but I mean come on, I’m not that guy! I am not Vanilla Ice – I can rap. [Laughs] Obviously they’re ‘marketable’ init, I understand the whole marketing thing. But I don’t think it applies to me.
M: Do you think that novelty will ever wear off?
Umm.. nah! Its like… if a white girl goes in the club and starts doing the duttywine, she’s going to stand out, cause its more of a black girls thing to be good at dancing. Obviously rap started with Run DMC and them people there, not a white guy. It originates from a black background init so if you see someone whose not black doing it then they’ll probably always stand out.
M: Bada Bing has a very different sound compared to what you normally bring to the table. Can we expect more of that sound?
Well I don’t plan to stop having fun so… I’m sure I’ll go back to the studio and make another fun tune. Like I said that tune was just for jokes, it’s not my kind of music, it’s not me. But it was fun init. And to me, it doesn’t sound too pop or commercial, but I know it’s very different for me. But I liked doing it. I would make something like that again; if I could make something better I’d follow it up.
S: You, Joe Black and Squeeks make a strong team. What can we expect from you lot in the future?
The takeover. Just expect good music, I can’t guarantee the charts but the music is always going to be good.
M: Can we expect an album from you this year?
Defo defo! I can’t tell you anything about what’s going to be on there though! But there’s definitely going to be an album. It’s going to be very exclusive, nothing like no one else’s. Ideally it will be out in the summertime.
S: Have you had any crazy twitter fans?
Yeeeeeeeah! I get weird messages man, some weird messages… But I think everyone does though man. I get loads of messages from people asking me how to rap. Obviously I can’t tell them how to do that, its just natural init. The funniest tweet I got was the other day… this girl… big up this girl man! You know you can search your name to see if people are writing about you yeah? She wrote ‘I still remember Benny Banks tryna chatting me up on the street last year’. I do not chat girls up on the street, I’m 24 man, my kid is 4, I haven’t done that since I was 17! I tweeted her saying ‘Big up you for making that up’. She replied and tried to be cheeky, but it was just funny.
M: Wrapping up, what can expect from Benny in the far away future?
A house in Dubai, a big Rolls Royce [laughs]. Nah, just progress. As long as I’m making progress it’s all good. I’d like to achieve my dreams that we all have… But as long as I’m still relevant in 5 years I’ll be happy. I think keeping relevant is what matters.
The new single, ‘Amore,’ and previous single, ‘Stereo Love’ have been playlisted in Chicago and San Francisco, with ‘Amore’ being broadcasted all over Florida by several net radios, and ‘Stereo Love’ at number two in the charts of Music One Radio in New York. This talented Sylvia Young graduate talks to Shireen from Flavour about growing up, her music and the reason why she has turned down record deals.
Sarvi is…
I love going out with friends and family and spending quality time with the people I love. I am extremely sensitive but love to laugh and see the lighter side of life. I don’t see the point in dwelling on the small stuff as life is short and should be lived to the full. Music is my whole life and I hope to share my musical journey with the whole world.
How do you think being at such a highly acclaimed theatre school pushed your musical direction?
Studying at a school like Sylvia Young’s allowed me to flourish into the artist that I am. I was very shy when I first started and had to get over that very quickly, but with the support and the love that was shown to me I easily overcame my timidity. The school taught me to be professional and grounded which are two qualities that I regard very highly in this business and ones that have put me in good stead. Your talents are highlighted at the school and nurtured alongside gently introducing you to other arts. It really is the best platform to start off from and I feel very lucky to have had the opportunity to attend.
What happened in terms of your music career after you left Sylvia Young?
After I graduated I went to drama college for three years and whilst I was there I was always writing songs and working on my musical career. After graduating from college I began concentrating more on music and working with different producers in the States. I have been fortunate enough to meet some fantastic people on both sides of the pond who have taught me so much and helped me produce some fantastic music so far that I am really proud of.
What was the defining moment for you when you realised singing/songwriting was going to be your career?
Ever since I can remember music has been my life – I have just never been able to imagine myself doing anything else. I remember doing a school show when I was 5 and I was given the main role and had to sing a solo. I loved being on stage and just got such a rush from it. I knew there was nowhere else I would rather be than on that stage singing my heart out.
When did you first begin songwriting and where do you draw inspiration?
One of the first songs that I wrote was when I was 16 and it was about my relationship with my father. From that moment on I realised I could express my feelings through music and to this day it is the only way I can really express exactly how I feel. I realised from then on that song writing was something I wanted to do and there is nothing better than singing a song that you know has come directly from your own head and heart.
How did you feel when you heard the news that ‘Amore’ is No.1 on the UK Upfront Club Charts?
I screamed! Such an amazing feeling. ‘Amore’ is a song that is so close to my heart and every single emotion in it is real to me. I know that others feel that emotion too when they hear it and that means the world to me. To have it validated like this by the people is just incredible.
You’ve got various remixes to ‘Amore’, so which one is your favourite and why?
Hmmm that’s tricky because I don’t really have a favourite. The three mixes by Seamus Haji, Steve Smart and Chuckie are just so different it is impossible to choose. They all instill different feelings in the listener and I love that. I love them all and they all did an amazing job. I feel very proud to have worked with them.
Your previous single ‘Stereo Love’ also went top ten in the Upfront and Commercial club chart. What is the next step for you in terms of chart success?
My next step is to keep them coming!! I want to create number one hits all day long and for as long as I can think and speak! The iTunes charts are the next charts in which I hope to achieve a number one. Every step I make is one closer to my dream and I wake up every day looking forward to what it brings.
Your songs are very popular in the US too. Why do you this is, and is this where most of your fanbase lies?
I couldn’t be happier to see that my music has travelled to the US and the people over there are listening to my music. Sometimes UK artists find it really difficult to succeed in America and I think because I have had so many dealings there with producers and making music videos etc they have taken me to their heart, which I am really grateful for. My fan base seems to be really spread over – not just the US but in Europe and Asia. It makes me really happy because it means I have done what I have set to do and made music that appeals to everybody.
You have turned down collaborations with several record labels. When do you think the right time for you would be to sign a deal?
I have had several offers in the past to sign deals but just haven’t felt it’s the right time. Music is my passion and I don’t want to be dictated to with music that I can and cannot make. So far I have achieved a lot without a major label behind me and I have been in control of which path I take musically which is what was important to me. If the right deal comes up in the future then I would definitely consider it but right now I am enjoying my freedom too much.
Who has been the most influential person to you in your music career?
I would have to say it would be musicians that I have followed careers of such as Michael Jackson, Diana Ross and Marvin Gaye. Their music touched me as a young child and continues to, to this day. I want to do the same as they have done through my lyrics and my instrument which is my voice. Their dedication and unfailing determination was incredible and if I become half the artist that they were I would be happy.
Your still very young, so do you plan to keep to dance/house tracks, or are there plans to branch out?
My music has always been a mix of soul and r&b so going down the dance music route was branching out for me. I recorded my first single in LA and when I got back the UK team I was working with suggested the track would sound brilliant with a dance remix. The remix was the version that got most of the response so it worked really well. I love trying new things and working outside my comfort zone. I have found that when one does this that the best art is created.
What is next for you? Is there an album in the pipeline?
I am recording my album right now in the states and I have many different projects that I working on too. I love to keep busy and keep perfecting my craft, because I believe you can keep learning for the rest of your life.
Check out my interview with Dot Rotten for Channel AKA.
1. Your first name in Arabic means ‘student’ or ‘seeker’. Do you feel that you have lived up to this name, and if so what would you consider that you are a student of?
I strive to live up to my name. Sometimes I do, sometimes I don’t. I always study details so I am a student of everything I see. But mostly of music.
2. How would you order money, power, and respect if you had to list them in order of importance and why?
Respect, Power, Money. Success is measured in happiness not paper. The power that a respected man commands trumps the power a rich man commands. It’s in the long run, so it’s hard for people to see.
3. Do you think that it is possible to achieve money, power and respect without any compromise?
Depends on what compromise you mean because everyone compromises something in life even you and I, but if you mean without compromising integrity, then certainly yes.
4. Do you feel that your educated background ever made it harder for more impoverished listeners to relate to your content?
Yes, I feel that there are times when my lyrics may get too nerdy, but I feel I’ve learned how to embrace it without alienating the listener who may not get it. This took time, and it wasn’t easy.
5. What do you feel your position and role in hip hop is?
I feel like I’m a connector. I connect with like-minded artists like Yasiin, Hi Tek, Kanye, Mad Lib, Jean Grae, Common, The Roots etc and I feel I somehow keep these artists connected. I also find a way to connect with artists who do different genres of hip hop than what I do, and newer artists as well.
6. What section of society do you think your music appeals to most?
Those who appreciate quality. Regardless of age, race, creed or region.
7. You are often described as the most underrated artist in hip hop. Would you agree with this appraisal and why do you think this is?
There are artists more underrated than me. But I certainly ain’t overrated I know that much.
8. As your career has progressed and moved forward your content has naturally evolved. Do you feel any pressure or constraints to stay true to the style and content that people first fell in love with?
I like the sound I’ve developed over the years, I enjoy it. On top of that I feel that I owe something to the people who have invested in my sound over the years. So I will always have an album or mix tape or something out that represents that style. But as an artist I get bored easily and have to try new stuff, whether fans like it or not. It’s always about striking a balance.
9. Jay Z formerly shouted you out on ‘Moment Of Clarity,’ and you responded on ‘Ghetto Show.’ How did it feel to have your lyricism appreciated and publicly praised by arguably hip hops most successful artist?
It felt right. Jay Z has always been one of my favorites from Original Flavor days, and I always looked to him as an example. Still do.
10. What were the reasons that led to you selecting Lowkey and Mic Righteous to support you on your UK tour?
I didn’t select them; I usually am not involved with the selection of openers. But I am glad they were chosen. I’ve heard great things from them and I look forward to sharing the stage with them.
11. You will be touring in the UK soon. Where in the world would you next like to go on tour that you haven’t been to yet?
Iceland. Or the Middle East.
12. What single character trait or attribute do you most respect in another artist?
Honesty
13. What are you liking about the UK hip hop scene at the moment?
Not really up on the UK scene. But Low Key and Mic Righteous are both ill, and I’m not just saying that because they are on the bill. I rock with Kano too, and my man Sway.
14. Any plans for a future collaboration with any UK artists?
I get down with whoevers nice and serious about getting down.
15. Following ‘Prisoner of Conscious,’ what is next for Talib Kweli?
San Juan. I want to move to Puerto Rico.
Quick Fire Round
Bjork
Kanye West
Respect
Happiness
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