View Full Version : new DEL THE FUNKY HOMOSAPIEN INTERVIEW w/ hiphopgame.com

food for thought
09-20-2009, 03:50 PM
I think itís great that you and Tame One recorded an album together. How did the idea come about for Parallel Uni-Verses?

The idea was all Tameís. Weíd been kind of linking up off and on since í93. Weíve always known each other. With this last time I had contact with him, it was on MySpace and I was trying to reach out to him because he had these mixtapes out and they was hella dope. They were more like albums and original material. He had, like, three of them out at the same time and I felt that dude was a beast.

I reached out to him and told him I admired that and he was seen at a few of my shows. Every time I tried to hook up with him, for some reason I couldnít see him. So we finally made stuff happen. We were touring together and we were rolling together. He brought up this project that weíre working on now. He wanted to do it and I was like, ĎYeah, letís go.í Thatís pretty much how it manifested. He already had the Parallel Uni-Verses concept ready. The whole concept is his. I just pretty much followed his lead.

Was the boom-bap production his idea too?

The production, that more or less has to do with parallel thoughts and how the album actually became an album is parallel thoughts. The type of music that it is, I donít know, to me, the old boom-bap beat is really just a back beat. Kick, snare, kick, snare. Itís like rock or something. Rock has the same kind of back beat. Itís pretty basic, just something that you can follow.

Are those your favorite kind of beats to rhyme over?

I like nervous beats, man. Like fast, nervous stuff, like Public Enemy. Like P.E. Something like a ďNight of the Living Bassheads.Ē Thatís a real nervous beat. Slick Rickís second album, all of it is damn-near hella nervous.

Do you make those beats for yourself?

When Iím on the production, I make beats like that. But I make all kinds of stuff. Right now Iím doing a score for E.A. for this Skate 3 video game. Iím actually scoring a level. Itís pretty intense.

When I talked to you two years ago, before The Eleventh Hour came out, you were getting really heavy into music theory and production. Have you stayed on that path?

Oh yeah. Thatís just my regular mindstate. Iím creative. Iím always trying to think of something new. But at the same time, I try to look at how the older cats did it too and try to learn from that. A lot of times itís already been done in a different form so I look for the blueprint and then try to make a new blueprint. Hip-hop is hella important to me and I just feel like dudes have kind of played ourselves out, like itís not that important anymore to people and I think that has a lot to do with how we handle ourselves.

I think the industry has a lot to do with it too but ultimately, I think it was us. We got more greedy and we got more money than people could conceive for doing it and then people lost their minds. Now we just got lazy with the art. Now itís not even about you. A lot of what Iíve been trying to do is figuring out how I can convince people that hip-hop still has value in music in general. Right now the average person is probably looking at general music and theyíve gotten fooled so many times from so many different exploits that itís like, ĎWhatever, man. Who cares?í

Movies are like that too now. Iím not saying that itís not an artistic statement anymore, but to get it out to the mainstream where everybodyís seeing it, thatís a feat now. Itís all blockbuster smashes that theyíve already predicted youíll go see. Itís to the point where a lot of people I know either copy or bootleg movies or they donít even care about movies at all.

Do you think that can also come with age and stuff not being as new as it was when you were younger?

Me, Iím the type of person that donít believe in things happening just because you got older. I feel like thereís a reason behind it and I feel like why things aren't as tight as they were when we was younger, as soon as we come out with something thatís tight, everybodyís trying to figure out how they can capitalize off of the project and make money off of it. of course it ainít as cool anymore because itís not even what we used to like.

So we get bored and we come up with something else thatís cool. Then the same thing happens. I mean, it takes awhile for something to peak and figure out whatís horse shit, but then they can see a noise getting louder somewhere else and they think, ĎOkay, I think I can make some money off of this. Okay!í Itís happened so many times in our history and people are wise to it and theyíre just like, ĎWhatever.í Anything that you doís gotta be a joke Thatís why people look at the mainstream like everything they do has gotta be fake like every corporation. I get mad at that sometimes because you canít really say that. You gotta do the knowledge and see what is fake and what is real. You canít just say that all of it is fake. Thatís being prejudice. I feel like thatís the reason though.

Whatís the last album thatís come out that you thought was amazing?

I donít know. I donít have to be amazed. I just have to be entertained. Iím not looking to be amazed. Sometimes things that are amazing to me, I donít really like listening to all of the time. Like, to me, Frank Zappa is amazing. Everything he do, to me, is amazing. But heís kind of heavy sometimes and I donít want to be that heavy. Camíronís Gangsta Grillz is the latest thing that Iíve been listening to heavily. Thatís like every day all day. Suga Freeís album was the last album that I had been playing every day, all day.

Itís just nice to listen to something where you can agree with every word heís saying. He also does a lot of stuff that other rappers would be scared to do. Heís kind of beyond just a rapper. Thatís another reason why I like him.

Getting back to Parallel Uni-Verses, did you link up to record it or did you send the verses back and forth?

We just sent verses back and forth online. Me, I donít need to be in the studio with somebody. I would probably do a better job if I was just left to my own devices than if I was in the studio with somebody. That could actually hinder my project. If Iím left to myself, I can do the things that I want to do and I just do it. Thatís the way we did it, man. He sent me what he had first and then I built off of him. And he didnít explain what he sent to me. He just assumed that I would know what to add and that was tight to me, because I do know. I donít have to be explained to and the more specific you get with music, the less you could be creative with it because youíre putting more and more parameters on it and how it has to be.

But if you allow some space for it to breathe and to give it some room, you can be creative. Thatís what we did. I had a general idea of where he was going with his lyrics and then he did the same thing for me. He listened to what I did and then he added to that. On the album Tame is rhyming about things that he doesnít usually rhyme about. He talks about stuff that you donít usually hear from Tame. If you know Tame, you know he has more on his mind than what he raps about. Heís a pretty intelligent dude, but if you only go on his raps, you might think heís one-dimensional. But if you listen to what heís done with other people, youíll have to think if thatís Tame or not. On this, I built a lot off of what heís saying and he built a lot off of what I was saying. If you listen to my music, you might think that Iím one-dimensional. Thatís how we came together with it though and it kind of sounds like we were in the studio together.

And Tame has more on his mind than what he raps about. I guess a lot of rappers are like that. When I get on the mic Iím usually talking about a personality defect from somebody that I donít like and Iím usually going in on them the whole time. But when youíre working with somebody, then you get to express yourself in different ways, depending on what kind of relationship yíall have. Me and Tame have a pretty cool relationship and we talk about all kinds of stuff and it leaked through into the raps. Me and Tame, sometimes we actually send each other rap emails, like itís a whole verse but it will be about whatever itís about. Wherever heís at at the time, thatís what it will be about. But I like that though. Those are the types of raps where I feel like youíre expressing yourself. Thereís a thing about it, trying to get to the core and just the true element of expression. You canít always get there all of the time. I feel like with this album, we got there but you canít really try to get there because when you try to get there, it runs away. Once you start chasing the money the money starts running.

Do you feel like youíre where you want to be because you didnít sell out for the money?

I feel like Iím in a pretty good position but Iím not satisfied. I want hip-hop to be as great as it was. I remember this one program, I think it was Arsenio, and they were praising Rakim. It was jazz cats, older cats, but they were reading or reciting Rakimís rhymes like they were poems. Thatís how they was coming, putting him in that light. I remember that and that was in the mid or early Ď90s. Now all you hear is negative criticism of hip-hop. Iím not saying thereís no positive influences out there, but itís not like that now. Itís a commodity now.

If youíre a kid and you see people around you and theyíre trying to rap, that ainít even dope to you anymore. Itís like, ĎRapping is played. Everybody raps. Okay, you can rap. So what?í Before, if you was a rapper, you had to have skills. Seriously, nowadays theyíre like, ĎSay whatever.í ďScratch my bootyhole.Ē You could say that and probably make a hit song out of it where before you had to work for years. I wanted to be regarded in a certain light because thatís how I look at it. I still look at it the same way and Iím sure Tame looks at it the same way. You canít be a toy walking into the game. I feel like everybody whoís really real with what they spit feels the same way. Thereís also a lot of politics going on and people donít think what something somebody is rapping about is positive. It doesnít matter what somebody is rapping about. Thatís their expression and who they are. Kool G. Rap didnít always have a positive expression but heís raw and he has skills. Thatís who he is! Thereís politics involved though. Thatís what Iím saying.

Can you make better music without a producer there?

Iím not going to say that. I will say Iím able to mobilize and make things a lot faster than when Iím with someone else. When youíre with someone else you have to click with them. Iím not going to say that I can make better records than if I wasnít with Prince Paul or Dr. Dre, because I donít know.

And itís just whateverís available. And honestly, to tell you the truth, a lot of producers out there, theyíre not checking for me. Iím a homebody. I donít be out and about that much, so maybe they donít know. But people ain't banging down my door to fool with me. That has a lot to do with it. I work with whateverís available and a lot of times, my creative drive is greater than a lot of peopleís.

Iíll have albums done in a week as far as writing is concerned and making beats too. In a weekís time, Iíll have an album. And it wonít stop. Iíll have another album next week. I donít even look at it as albums anymore. Itís just a continuing project. Zappa has this idea of a greater project that encompasses his entire life and he tried to collect everything he ever did into this project and thatís kind of how I look at it, like the same songs. I just try to perfect it. Itís like a scientist working on a theory. Thatís cool, but let me try putting in this element this time. Itís kind of the same concept youíre building on. Itís like musical perfection or whatever you want to call it. I know a lot of other artists maybe arenít like that, like it ainít their greatest concern. Thatís another reason why Iím always working by myself.

From listening to the promo of Uni-Verses, it sounds like you and Tame had fun going back and forth.

Tame is a fun dude. I like fooling with Tame. Heís a cool dude. Heís always been. Heís always been hella cool. Yeah, it was fun, man, but heís the type of cat that can have fun with it. Even though his situation ainít the best with where heís at, heís cool with it and that ainít gonna stop what heís doing as far as hip-hop is concerned. And heís not that jaded. He writes all the time. Thatís how he expresses himself. We have Sidekicks and heís always writing his lines on the Sidekick and itís fun to work with somebody like that because thatís how I am. Iím always writing rhymes because thatís my form of expression and if it wasnít hip-hop it would be something else in writing because thatís pretty much what I am. There arenít too many people like that so when I find somebody like that, yeah, itís like, ĎOh, okay!í Itís a challenge and itís somebody else thatís raw too and they can produce a rap instantly and they got books of raps too. You kind of feel like, ĎOkay, youíre not the greatest.í It kind of makes you get motivated.

Are you satisfied with Parallel Uni-Verses as a whole?

Satisfied? Iím rarely satisfied. I always think shit can be better so at a certain point, I just gotta step back and say, ďOkay, itís doneĒ because I can keep on working on something forever. Iím a perfectionist. At some point I gotta step back and say itís done. I like what we did though a lot. A whole lot. As far as the response that weíre starting to get from it, I honestly didnít expect much as far as responses because I feel like a lot of people are jaded and theyíre not even checking for stuff no more.

I was surprised when I got to New York to go to the label and people said it was hella tight. I was like, ĎOkay, people are digging it!í I guess Iím sort of jaded. To me, hip-hop is like an expensive hobby at this point. I donít see people making a profit off of it or being really interested in it. Iím not doing it for a profit. Iím doing it for myself. This is something that Iím trying to zero in on right now.

I want to take that core hip-hop, from the Ď90s and Ď80s, and take that from where we just left it sitting there. We could have done more with sampling but we just did it the easy way, rapping over popular records and making money. But you can do hella stuff with samples. Imagine if you took the concepts of Marley Marl and took them even further, like Pete Rock, for example. He still does that. Thatís what I want to do and Iím pretty much on that page right now, just trying to be real like that. Iím trying to make it interesting, where if you werenít there back then, thereís still something you can get out of it because Iím still updating it and not making it retro. I donít know what you would call it, but itís still hip-hop and new as well.

Werenít you kind of on that route with your last album The Eleventh Hour?

Sort of. Iíll tell you another concept I got. Iím having a battle with myself. Musically, I can do a lot more than what is necessary to make hip-hop music but there are a lot of purists that say that after a certain point, you canít call it hip-hop anymore and I kind of agree with it. Itís like the blues. Blues is so simple that once you get past a certain point you canít call it the blues anymore. Itíll still be like the blues, but updated.

I had to kind of get comfortable with myself and I kind of understand now what making beats is. You call them beats for a reason. If youíre making a beat on an MPC, itís called a beat for a reason. It has its own world. When it comes to hip-hop, itís more about beats. Thatís the page Iím on, trying to come up with some iller beats. I can make a tight production with instrumentation and none of it is sampled and now Iím trying to bring that back to how can I make beats. Weíre in an era now where beats changed the worlds and something like a funky beat might be bewildering to a cat now, like, ĎWhat is this?í I donít know if they have the musical maturity to even appreciate half of the shit I do. I have to pump my breaks a little bit. When I was younger, I wasnít musically sophisticated and something hard caught my attention. I was like, ĎFuck this R&B shit. I donít want to hear no lovey-dovey melodic shit. I want to hear something hard.í Thatís where my mind is at and how I can take that concept and bring it to the future. Itís kind of like rock because itís more about bang-bang than about musical sophistication, for the most part. Of course you could do anything with it, but if you donít have that hard, driving edge, itís kind of like fluff rock.

Do you think hip-hop has too many subgenres today?

Yeah, yeah, I think so. I think itís been doing that, but I think that there is nothing being said about what it is necessarily. Once money got into the picture, it was like a pimp and a ho situation. Youíre not independent.

But it wasnít as bad as the first model for the music industry because the first model, you didnít even know what was happening and you would just hear your music like, ĎWhat is this magic?í And you would just be hearing your music somewhere and you wouldnít be getting north. You got a bottle of whiskey for your songs. I didnít tell you what I was going to do with your songs once I got it. (laughs) We live in a capitalistic world, Jack. I gotta capitalize off you to make my profits because thatís the way the game goes and itís foul. Somebodyís gotta lose.

That just tarnished the whole thing and a lot of people are greedy and we live in that environment and some people donít have nothing and once they get something, itís different. In ten years letís see if youíre on the jet skis and horses and all that shit you talk about. Weíll see if you still have those millions because you canít have it blowing it right now. Thatís just the real deal. Iím not even hating. Those are just lessons that I pick up from the background and what Iím going to do with the money I have, and I donít even have more than them.

But I think that has a lot to do with shit changing and thereís not no consolidation as far as shit goes because it can be anything. It kind of just turned into more than it was. Hip-hop has turned into what the blues was. Itís a formula thatís so basic and you can build on that basic formula and make it something different. I donít care what kind of music is popular, it still has the blues in it because itís still based on that simple chord progression. Itís the same thing with music. If you make a beat on an MPC, itís still hip-hop, period. Whoís not going to have a driving drum beat in their beat today if they want to be hip? Thatís been going on for at least the past 20 years.

When you were asked to score the skating video game, did the company ask for real hip-hop or more experimental-type hip-hop from you?

Well, this is my first real scoring project. Theyíre being real patient though and Iím hella thankful for that. They can be fooling with somebody else and not even fooling with me. Thatís a good question, man. Honestly, the first stuff I gave them, they said it was almost too dramatic or too movie-like. Iím going into it thinking, ĎOkay, you want something like thisí and they want me to just do something that I would rap over. Thatís a trip to me. Thatís what Iím doing. Iím a little bit more involved than that. Iím basically making a 30 minute song and it has changes throughout the whole 30 minutes because youíre walking around and doing what you do and as you get better the music starts changing. The more you start to achieve, the music starts matching that. They came to me because they heard my Funk Man album and they liked it and they liked that I still kept it hip-hop but I was trying to move it forward and they thought that was perfect for what they were trying to do. They still wanted that hip-hop but they wanted more than just the simple renting somebodyís music out. They wanted somebody that could actually mold their shit to the game and they figured I had enough skill to do that and still keep it hip-hop.

Are you enjoying the scoring experience?

I like it, man. And Iím the type of person where Iím a quick learner and Iím eager to learn. They were telling me they liked that and a lot of times they canít get in touch with dudes and they look at it like itís some bread or whatever. Iím asking them what they want me to do and to explain it to me. Iím actually involved in it. Theyíre like, ĎDamn, this is hella cool.í And then they get more juiced about working with me. I definitely like this.

As far as the pay goes, the pay is good and thatís a part of why I wanted to get these skills because I knew in the future, hip-hop wasnít gonna be paying my rent no more because at the rate itís going, itís not gonna have no value no more. I love hip-hop but that angleís not gonna work no more and if you want to do music, youíre going to have to know stuff about it because the basic level of music theory that I was at was not going to cut it in the future. I designed things to end up here and I definitely want to take it to movies because I enjoy working with music, period.

When you were coming up, your solo music and the Hiero music was on skating and snowboarding videos. How important was that to getting your music out?

Skating was something that I was trying to do. My theory is that we were both coming from two different types of subcultures where you canít just be down if you donít have some type of skills. You canít just walk up off the street and be a skater. Youíre going to have to bust your ass more than a few times and thatís how hip-hop used to be. You couldnít just walk up and start rapping. It had a bad boy edge to it and you werenít supposed to be doing that to adults, so it kind of made you cool to people. Other people thought you were crazy or whatever, but Iím keeping it funky. Most subcultures got something like that to them but I think those things just kind of brought that attraction.

A lot of skaters like underground music but personally Iíve always grown up around kids that skate and rockers and stoners, whatever. I didnít hang around the cool kids at school or the cheerleaders or the jocks or whatever. They didnít like me. They thought I was weird. So thatís not who I kicked it with. I kicked it with people who were more real about things and werenít superficial with things. I guess that just translated to music because Iíve always kicked it with different people.

Thatís probably helped me more in my career than my musical skill has because people like me and they want to be around me. Itís cool and that goes a long way when youíre trying to deal with people. Some people, you might think theyíre great and whatever but their attitude is so nasty that you donít even want to deal with them. And now the skating industry has grown to itís popularity that now when I talk to the kids, they tell me that rapping is out and that ainít cool no more. Skating is whatís up. Thatís what they tell me and I figure thatís probably because now you canít just be a skater. You could just be a rapper. Not to me or you, but to the average person out there in America, rapping ainít shit. Skating though, you canít just do that. Youíre going to have to put some dedication into that, physically, and not based off nobodyís opinions. No. Youíre going to have to physically be able to do something and I think that gives it a sort of value that sort of supersedes how most people value rapping now. Itís been devalued. But it helps me because Iíve never left that skill value. A lot of other hip-hop artists sold out and I didnít. A lot of kids today, they can respect that, I guess.

Do you think thatís why you can tour whenever you want?

I think itís because people actually enjoy my presence. Iím so sure that my pleasant approach to people makes them like my music even more, where a lot of artists might turn you off of look at you like, ĎGet out of my face. Fuck you doing? Iím trying to holla at the hoes.í Itís like, ĎYouíre a jerk. Fuck you, dude. Your music ainít even that tight, now that I think about it.í I just play my part and Iím just surprised that year after year, people tell me itís the greatest show theyíve ever seen. Thatís what a lot of people be telling me. Theyíre satisfied when they leave my show. I donít know what theyíre seeing but Iím not complaining. I might be having a bad-ass time but when I get on stage and itís time to do it, Iím not thinking about it.

I always left a Del show having a good time.

Thatís what I like about hip-hop. The older cats like Slick Rick and Run-DMC, fuck it, youíre not leaving a Run-DMC show not having a good time. They were like fucking gods. They had a show and they made an impression. Now people are lazy and they donít want to be there. Theyíre really egotistical and it wasnít like that. If you was an MC, you might be like that on the mic, but dude was cool actually. You were just supposed to be like that on the mic. Somewhere along the line people actually started buying into what they were rapping about.

Do you enjoy the touring process?

All the stuff I was popping about being on the road, I really donít feel touring that much, maybe because I havenít stopped touring since í91. When I first got into hip-hop, I didnít really understand that it would entail all of that. I just liked to rap. Now Iím looking back like I didnít realize the job entailed all of this.

To make a long story short, Tame understands that Iím not gonna want to tour for this. I just want to do the project and weíll think about the other shit later. I just wanted to do it because that was something creative that I wanted to do, but Iím looking at it like he could use that as a jump-off of whatever. But if he needs me to do it, I ainít gonna sit up here and be a fucking dickhead about it. I could try to endure it, but I donít think he would try to force me to do that. But the shit we did in New York, I already told dudes that Iím not doing nothing that requires me to leave the Bay Area. So you better get used to that from right now and if itís in the contract, I ainít fucking signing it. But amazingly, I was out in New York and the label realized that they had me here so they got me there to do some shit and I didnít complain about that. Iím surprised at myself that that occurred. I was surprised that I just did it and didnít complain. If Iím in a situation, Iím going to make the best of it.

Touring isnít easy with your health issues either, right?

Itís not. Iím just not built for that strenuous, continuous work. Itís basically 24-7, all day every day. Youíre on your job all day. It donít stop. All day youíre traveling, then you got to perform and hopefully get some sleep that night and then do it the next day and the next day. Some people love it. They would rather be out on the road than at home. Thatís not me though. I would rather be tweaking sounds and mixing elements in a mix in the studio. Thatís where I would rather be. Thatís shit that other people probably think that would be hella boring but thatís like science class for to them and theyíd rather let an engineer do that. Thatís the shit thatís hella fun.

You know we canít do an interview without asking about the latest on you, Dan the Automator and the Deltron project.

Man, I hope Dan is still willing to do it because itís been so long and I ainít talk to him in so long. He might be like, ĎMan, fuck you, Del. You took too long. You took too long. Fuck it.í I doubt heís being like that. From the last time I talked to Dan, he was being very patient because the last Deltron, I feel he kind of jumped a little bit ahead of me as far as what I was trying to do. He was trying to maximize anything. ďWe gotta maximize!Ē Heís a hustler like that and heís trying to get his bread and maximize it and Iím like, ĎDamn, I donít even know the lyrics like that. Can you pump your breaks a little bit? Weíre on the road trying to do a show with a live band and I donít even know the fucking lyrics!í The lyrics were ridiculous! As a matter of fact, with this Tame project, I didnít really think about the lyrics being performed. Itís the same thing with Deltron. Those lyrics werenít really designed to be performed and they werenít for sing-alongs and in so being, I canít even sing along with that neither. Learning it is like studying for a test. I was not ready.

The next time, I said I wasnít gonna finish the shit until Iím ready because heís gonna be ready and want to go maximize. But I talked to him about it. Danís a cool dude and that wasnít his intent. He thought I was on the same page, probably. Thatís why heís been patient this time because he hasnít heard from me in a year, at least, but he hasnít bugged me and I donít want to step on his toes or nothing. You donít have to give me that much space. You can holler. I ainít mad at him. I got about half of that album done. I be writing some Deltron shit periodically now. Before it wasnít in my mind and now Iím trying to get it out of my mind. Iíve been thinking of Deltron shit and I got a Deltron folder in my computer and I got stuff thatís not even going on the next album. Iím thinking about Deltron more now. It happened before I was even ready for it and now Iím starting to get more comfortable. Iím realizing that people liked it and Iím thinking about why I even did it in the first place. These are real questions to get back to the zone I was in when we first did it.

What do you think your fans want from you today?

What I realized is that people who want that just want something to keep them entertained. Some people are real critical, so I ainít talking about them. Iím talking about the average person. If you do too much, theyíre like, ĎOkay, youíre cool, but damn, dude, turn it down a little bit. Itís kind of loud.í They want that excitement but they donít want it too exciting because then theyíll be irritated. Itís kind of like a balance you have to do. Iíve discovered that you donít have to do that much. I mean, you have to work, donít get me wrong, but the type of effort that I be trying to put in it at some times, I have to pump my brakes a little bit. Iím kind of going overboard. Iím just starting to be a little more conscious of what the average person out there is either willing to take or willing to take because theyíre important to the equation too. You canít be a performer without people who are willing to see you perform because you have to be respectful of their tolerance level.

Itís the same way with fans. You canít be running up asking for autographs and to sign your titty. Calm down! The motherfucker is probably kind of nervous. Me, Iím not going to make a big deal out of it. Theyíre fans and theyíre excited to see you, but itís irritating at times. Sometimes I canít even see because sweat is all in my eyes and thereís a mob of people running after me.

Do you think weíll see a new Hiero album anytime in the near future?

You know what, man? I would love to see another Hiero album. I still feel the same way but I realize that Iím getting up there. Itís not them days no more and shit is a lot more frustrating. The situation is hard, especially with the shit that we do because the value has decreased so much. You canít eat off this shit like we used to be able to. A lot of people around me are kind of getting jaded and you got kids. I gotta do something else, like this shit ainít feeding my kids. Iím not going to say itís not there.

As family, we all get it. But itís just our level of motivation is not all there at the same time like when we were kids. It was bountiful energy, just bursting and bristling with energy. Now itís about watching kids and baby mamaís tripping. Itís a different situation now. Youíre a grown person now and you got all these grown problems you gotta worry about. Me, personally, I tried to do things in my situation differently so that when I got here, I wouldnít be tripping as hard and itís cool.

I told everybody in Hiero that if they needed me, send me the music and Iíll finish it and send it back to you or Iíll come up with a concept and send it to you and you can fill in the blanks. I can do it. My only stipulation is donít ask me to come to the studio because thatís what I worked so hard to not have to do. The technology is here, in the comfort of my own home. Aside from that, Iím willing to do any Hiero song whenever they want to do it. Itís just different now that weíre all grown.

But it could be possible?

Yeah. To be honest, we probably got enough but brothers are picky. A lot of times, brothers be looking at it like it's the next big thing and ďThe Next HieroĒ album but the more pressure you put on it, then it becomes a big-ass deal, like, ĎThe shit better be live.í But if you hit them real quick with whatever it was, theyíll like it. I donít know. I think a lot of times brothers just make it a big-ass deal but we probably got enough for a Hiero album. We were working on that a year or two ago. And we were never a group like that anyway. We were always separate groups under the Hiero umbrella and I could handle the pressure of that because Iím a solo artist. I had to go back to being a solo artist after awhile. We just didnít have the money to all go on the road alone.

Letís maximize the money that we got and everybody can go out as Hieroglyphics under one umbrella. The situation was good but we just started there and never went back to the original plan. I feel like now, at this point, itís back to where it should have been where Opioís working o his solo stuff and A-Plus is doing what he wanted to do. Now you got enough to where you should be able to do your own thing now.

Do you think your fans understand that?

I donít know. What do you think?

I think a lot of fans would love more Hieroglyphics music.

That would be dope. Personally, Iím willing to do it. If thereís anybody that has the energy level and productivity level that I have, itís Hieroglyphics. The love for each other is there but we live in separate places now. I donít even live in Oakland anymore. Iím in Richmond. Iím not even around dudes. Iím out in the cut somewhere. Tajai moved to a different spot. Itís not as close-knit as far as our location is concerned, so thatís one thing. And then we have the responsibilities that we have. But letís just use this technology and do it this way. But some people arenít comfortable with that. They want to be in the studio and be physically around people. I canít knock it but itís harder for me because I can do it right here, write it and send it right back. Whatís gonna beat that, in my mind?

That seems to be the popular way to record today.

Is it? A lot of people seem to be more analog today. A lot of people want to talk to people and do it. Me, I donít need your physical vibe because I know that sounds hella crazy, but I donít need to be there shaking your hand. I can get your vibe just as good through other means of communication.

What video games have you been playing lately?

I havenít had time to play video games in the last decade, dude. I have the Xbox but I havenít played a lot lately. And I fully upgraded my computer. I have one that Dell gave me and itís good because it never goes online. If I spend money, thatís what I spend it on. Iíll buy the new gadget that makes it easier for me to make my music. But I got an MPC 500 and I had the MPC 1000. I donít use them as much as the computer, but when you called I was making some shit on the MPC 500. But yeah, I keep up with them, man.

Will we see more music from you on a consistent basis?

I got more shit than will probably ever be able to be released because I donít ever stop making shit. But my focus right now is to let these young cats feel the excitement about music that theyíre not feeling. Anything that I try to do that is trying to be too retro with it, theyíll probably frown on that. Iím trying to give it to them raw, basically. I want to give them music that made me think Kool G. Rap was an alien or take it back to Big Daddy Kane and Just Ice, because you know how hard Just Ice goes back. I used to hear him rap and be like, ĎThis dude is actually saying this?í I thought lyrics were supposed to be simple and there wasn't nothing cleaner than that.

And the music was just something new and exciting. I want them to be able to get that. Some kids, they want that. A lot of kids in the skating area and that subculture, they listen to what their older siblings listen to and they donít fool with that pop shit. They listen to what came from the Ď90s and thatís who Iím trying to appeal to because they have that interest, like how George Clinton and Bootsy did back then. They knew who wanted the funk and that real and Iím getting in where I fit in. I see whoís interested and Iím sliding in there, that way Iím not bothering who doesnít want to be bothered with it.

But Iím doing it from a point of view where I donít have to make money off of it. People arenít buying records and itís just something thatís meant to be downloaded. Thereís no money in this. You can download it but you canít download me and once you download it, youíre going to hear it and realize that you shouldnít have done that. Youíll feel like a jerk because youíll realize how raw it is and that itís worth it to go buy it. A lot of cats arenít worth it. Iím not saying Iím trying to save the world, but thatís what I want to do.

It seems like your perspective has changed a little from your interview for The Eleventh Hour, where you were more negative towards the free downloading of music.

You know what? I just got a funky attitude a lot of the time. Thatís the way it is and thatís the way it is. I was kind of ambivalent about that but I knew it was gonna happen. I was just keeping it funky with you. Motherfuckers were going to download it and I was ready. I knew it was going to happen and I wasnít perturbed about it. Iím out there too so I know whatís going on. Iíve been fooling with computers since the sixth grade, so I know how that goes. I wasnít that mad about it but now Iím at a point where I can see how you can make people appreciate it and why they feel like itís okay to do that because itís like that in the software industry.

A lot of fools be trying to bullshit you and sell you some weak shit and motherfuckers are like, ĎFuck you, I can get around that!í Thatís just the way it is. Like, make it easier for me, dude, and Iím going to respect you and then Iím going to buy it. But if youíre a bigwig dude trying to get around it, Iím going to download your shit. And thatís just the attitude. I can relate to that. Thatís me too. Thatís been me for awhile but Iím going to let you know, though, that this shit Iím doing, Iím not one of them. If you like my shit, youíre not going to be able to do it no more. Iím going to keep it funky.


09-20-2009, 04:01 PM

09-20-2009, 04:02 PM
good read.

09-20-2009, 04:38 PM
del says hella

food for thought
09-25-2009, 11:37 AM
bump for this dead ass sub forum

09-25-2009, 05:35 PM
a new hiero album

a new deltron album

skate 3

all things i want to see

09-26-2009, 06:39 AM
Great read from my favorite MC. Repped.