Author: Louis Goggans

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Music Music Features

Partners in Rhyme

When it comes to duos that have made indelible contributions to hip-hop, Outkast, UGK, and 8Ball & MJG all deserve acknowledgment. The impact and influence these Southern-bred groups have had on the rap game are second to none. But groups like those don’t come around too often.

Starlito and Don Trip, two revered wordsmiths from the Volunteer State, are aiming to be the lyrical tag team that picks up where their Southern predecessors left off. Though solo artists at heart, since 2011 they have been pushing out content collectively through their Step Brothers series — an homage to the 2008 comedy starring Will Ferrell and John C. Reilly.

Driven by the overwhelming reception they received from the first two installments of Step Brothers, Starlito and Don Trip are releasing Step Brothers Three on March 15th. According to the pair, their new album will showcase a stronger musical chemistry and closer bond between them.

“I wouldn’t say it’s effortless, but it’s organic,” Trip says, regarding his musical connection with Starlito. “We weren’t put together by somebody else. It started from us both being so in love with the music and respecting each other’s craft. When we first did Step Brothers, we were more like stepbrothers. Now, we’re more like brothers. I think when you hear [Step Brothers Three], you get to see that. You get to feel the growth.”

Products of two cities heralded for their musical heritage, Nashville (Starlito) and Memphis (Don Trip), the duo has amassed a cult-like following from their individual and duo efforts. To a certain extent, their careers mirror each other. They both experienced moderate commercial acclaim and held spots on major label rosters, and, ultimately, they both traded in the industry’s glitz and glam for independence. Starlito got his first taste of musical recognition with 2005’s “Grey Goose,” which led to his catching the attention of Yo Gotti, who signed Starlito to his now-defunct Inevitable Entertainment. A production deal with Cash Money Records and Universal Motown followed. But things didn’t go the way Starlito planned: His major label debut never dropped, causing him to create his Grind Hard imprint and release projects independently.

Trip’s initial flirtation with stardom came from his 2011 release “Letter to My Son,” a heartfelt outcry over a tumultuous battle to see his child. The song helped land him a deal with Interscope Records and a slot among XXL’s 2012 Freshman Class. But like his partner in rhyme, Trip’s major label debut was shelved, motivating him to part ways and resume his musical chokehold underground.

Both are remarkable lyricists, and one could wonder if there is a sense of friendly competition when Starlito and Don Trip step in the booth. Let them tell it.

“It’s less competitive and more complementary,” Starlito says. “I know that Don Trip is going to deliver a superb verse every time, so deep down, I know that I can’t bullshit.”

Starlito and Trip tend to infuse a lot of wit and humor in their music. But it’s not to the point that it overshadows their rhymes about pain, struggle, misfortune, and social injustice.

The track “Dead President” off their February mixtape Karate in the Garage is a fitting example. The duo share their perspectives on politics and the government. Starlito, in particular, lyrically chastises the nation’s 45th president:

Last night, I had a dream that the president died/

Woke up, he was still alive, I felt like crying/

Changed the channel and seen something bout a travel ban/

What the fuck? Man, every Muslim ain’t the Taliban

Starlito and Don Trip are aware that artists of their caliber fusing to create an archive of music is rare. With that in mind, they’re determined to push the bar with each release. The duo is already recording tracks for Step Brothers Four, as well as hitting stages throughout the South and Midwest via their Karate in the Garage Tour. The grind doesn’t stop.

“When it’s all said and done, I want to be in that Mount Rushmore of two-man groups,” Starlito says. “Hopefully, the reception of Step Brothers Three will push us in that direction.”

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Calling the Bluff Music

Yo Gotti Was Born a Hustler

Since jumping into the rap game more than a decade ago, Yo Gotti has glamorized his prowess for hustling. “Born Hustler,” a mini-documentary presented by Epic Records and journalist Elliott Wilson, sheds light on where Gotti’s unwavering grind derives from. 

The visual takes viewers through the streets of Memphis, the homes of Gotti’s relatives and his restaurant Prive’. The Billboard-charting artist opens up about hailing from a family of hustlers. He also reveals his reasoning for trading in the streets for rap and entrepreneurship.

During the documentary, Gotti’s mom and two aunts reflect on their introduction to hustling, how it changed their lives, and the impact it had on Gotti. And the rapper’s brother and childhood friend both share how their lives have changed due to his success. 

Check out the mini-documentary below. And grab Gotti’s latest album The Art of Hustle. 

Yo Gotti Was Born a Hustler

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Calling the Bluff Music

Xavier Wulf Drops “New Notification”

Underground emcee Xavier Wulf gets a few things off his chest on the somber, bass-ridden cut “New Notification.” The 901 representative uses the track to express his disdain for haters, rappers who need co-signs, and groupies. Stream “New Notification” below.

Xavier Wulf Drops ‘New Notification’

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Calling the Bluff Music

Young Dolph Hits NYC for “It’s Goin Down” Visual

The self-proclaimed king of Memphis, but Young Dolph chooses to float around New York City for the visual to his high-energy cut “It’s Goin Down.” Produced by the legendary DJ Squeeky, the track is from Dolph’s latest album King of Memphis. Peep the visual below.

Young Dolph Hits NYC for ‘It’s Goin Down’ Visual

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Calling the Bluff Music

Starlito and West Reminisce on “Used to Be”

Cashville’s Starlito recently dropped the visual to his reflective track “Used to Be.” The song appears on Lito’s 2015 mixtape Introversion, and features fellow Trash Bag Gang member West. Peep the track’s visual below. 

Starlito and West Reminisce on ‘Used to Be’

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Calling the Bluff Music

Wave Chapelle Grabs Lil Uzi Vert for “Boss Up”

Wave Chapelle has maintained a steady flow of musical releases since jumping onboard with Yo Gotti’s CMG label a couple years back. His latest offering is the motivational vibe “Boss Up,” which features rising Philly artist Lil Uzi Vert. Stream the track below.

Wave Chapelle Grabs Lil Uzi Vert for ‘Boss Up’

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Calling the Bluff Music

Dope By Accident Takes Listeners to “Sense City”

Dope By Accident has been creepin’ on a come up for a minute.

Her career started in Memphis, maneuvering through the city’s underground music scene. She later migrated to Miami and began working with musical heavyweights Timbaland, Missy Elliott and Polow da Don. This led to her penning songs for the likes of Monica, Usher, Beyoncé and Chris Brown.

DBA recently connected with Trendsetter Sense (of the revered DJ collective The Aphilliates) to deliver the melodic “Sense City.”

Check out the track/visual below. 

Dope By Accident Takes Listeners to ‘Sense City’

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Calling the Bluff Music

Virghost Delivers Visual for “Distractions”

A clever and transparent artist, Virghost vents about maintaining his grind despite countless disturbances on “Distractions.” The catchy creation comes from his forthcoming album, It Gets Greater Later. The project is slated to drop in April.

Peep the visual for “Distractions” below.

Virghost Delivers Visual for ‘Distractions’

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Calling the Bluff Music

Throwback Thursday: DJ Squeeky Talks Memphis Rap

One of Memphis rap’s most iconic figures, DJ Squeeky talked with me back in 2012 about his indelible contributions to the city’s music scene. He also opened up about his past issues with DJ Paul and Juicy J, revealed the equipment responsible for his subwoofer-satisfying production, and shared some advice for up-and-coming artists and producers. 

The interview can be read in its entirety here. Below are several excerpts from our conversation.

How did you get into music?

I have a lot of family members that go to church. Some sing. Some play instruments. I used to play drums at my church, so that really gave me a lot of good interest for the music game. Everyone was a fan of music back then. Either you were rapping or you were beat-boxing or you were DJing. You were doing some form of hip-hop. I started off being a DJ, but being a fan of hip-hop, I didn’t just want to play the music. I wanted to be involved with making the music.

What inspired you to primarily focus on the production aspect of hip-hop?

I think production came when I started doing mixtapes. I was DJing at the clubs but I wanted to start doing the mixtapes, too. I really got inspired by DJ Spanish Fly (legendary Memphis DJ and rapper). He used to be on the radio at 12. Club Expo. If you were a young cat, you were waiting to hear the Spanish Fly mix. You knew it was fixing to go down. I used to be like, ‘I want to do that too.’ I was still more curious with producing, because everybody was involved with the rapping part. [That’s] what everybody got into, but you had to have music to rap.

How old were you when you first started producing? And who were some of the first artists you produced for?

I was probably about 15 [or] 16 years old. I did some work with 8ball & MJG, Criminal Manne, Project Playaz and Tom Skeemask. We all kinda grew up together in the same neighborhood. My house was the place that we came and put it down at. I had [Kingpin] Skinny Pimp, Al Kapone. Anybody that had a little name back then was at my house. 

I noticed you haven’t done a collaboration with Three 6 Mafia. Why was this? Were you guys in competition with each other?

It really wasn’t a competition, it was an issue with them re-making my music. They were really on the ‘stealing people’s music thing back then.’ Their whole style, their beats, hooks, everything were based on shit I did. All the hooks that you heard from them [earlier on] were samples they took off my mixtapes. They were making their own songs off them. That’s how they got started.

Did that cause an issue between you guys?

I had a real big problem with it back then. I felt like, I’m just a dude over here in the ‘hood trying to do my own thing with my music, and I see another guy trying to jump in on what I’m doing, sample what I’m doing, and steal the style of what I’m doing. Then you want to make beats like I’m making and everything. It was like they weren’t sticking to their own shit, which is what they should’ve been sticking to instead of trying to be a DJ Squeeky fan. I know they couldn’t help but be a DJ Squeeky fan, because I was the only thing around back then. But the thing about it was instead of sampling me, [they] should have been apart of what I was doing.

Are you referring to DJ Paul and Juicy J in particular?

I’m referring to both of them. I just look at them like they took what another man worked hard on doing. You want to be like him. You want to sound like him. You want to work your music like he works his music. And try to be me. Every album by Three 6 Mafia that’s came out to date got some DJ Squeeky on it. It’s got a DJ Squeeky hook, a DJ Squeeky sample, a DJ Squeeky beat pattern. It’s got something on that record concerning me.

Would you say that you helped establish the early Memphis sound production-wise?

Fasho, I did. Back then, everybody was doing it, but I took it to the streets. I was doing the mixtapes, putting them in the stores. Nobody was putting rap mixtapes into stores. Everybody was trying to get into record stores. I was going to Mr. Z’s, the stereo shops, and all that. 

What are some of the machines that you use to produce?

I’ve used the SP-1200 [drum machine]. I had a Boss Dr-660. I had an old Roland keyboard before Mini came out. My music back then was more like a sample thing. I was sampling things that I heard and was putting beats to it. I’m still using the drum machine to make beats. The MPC-3000. I’ve been dealing with Fruity Loops too. 

What advice would you give for up and coming artists and producers?

All I can tell you is that you’ve got to believe in what you’re doing, and the best thing that you can do is to try to keep loyalty with the people that you’re dealing with. It’s hard trying to keep people in a group or a situation when you’re trying to make a dream come true. You have to really be focused on what you’re doing. I’ve had a lot different distractions from people who just tried to get me out of my direction in life. You just have to stay focused. If you don’t believe in yourself, nobody’s going to believe in you. 

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News The Fly-By

Memphis United Demands More Accountability for Police Officers

Driving under the influence, aggravated assault, rape, and murder are among the offenses law enforcement are paid to police. Ironically, these very crimes are amid the illegal acts some Memphis officers have been arrested for since last year.

In 2014, 18 officers from the Memphis Police Department (MPD) were arrested. As of April 2nd, there have been four officers apprehended this year for offenses such as sexual exploitation of a minor and driving under the influence.

“We are held to a higher standard because we took an oath to protect and serve, but, by the same token, our officers are treated just like any other citizen who breaks the law,” said MPD spokeswoman Alyssa Macon-Moore. “We’re no different. When we do things that are outside of the perimeters of the law, we must suffer the consequences.”

Memphis United, a coalition of local grassroots organizations and residents against structural and institutional racism, organized the “Bad Apples? FixTheBarrel” rally last Wednesday at the intersection of Lamar and Airways. People waved signs and protested in support of efforts to hold law enforcement more accountable.

The primary approach to help accomplish this goal would be through an amendment of the city’s Civilian Law Enforcement Review Board (CLERB) ordinance. The revision would provide CLERB with the power to subpoena documents and police witnesses, investigate complaints concurrently with the Memphis Police Internal Affairs department, and make disciplinary recommendations to the Memphis Police director, among other authoritative acts. The Memphis City Council’s Personnel Committee will discuss the amendment at its next meeting on April 21st.

Paul Garner led the rally at the intersection of Lamar and Airways. He spoke through a bullhorn at passersby about the importance of police accountability and the need to reinstate CLERB.

“There needs to be a system in place where when people file complaints, it’s tracked and available to the public, and we catch these things before something serious happens,” said Garner, organizing coordinator for the Mid-South Peace and Justice Center (MSPJC). “Some of these guys have multiple complaints filed against them, and if there was a civilian oversight body that had the power to gather that information at the time those complaints were filed, red flags would have gone up and something could have been done before we had a case of rape or sexual assault or domestic violence.”

Last Tuesday, a day before the “Bad Apples” rally, a panel was held at Christian Brothers University to inform the public of CLERB’s origin and how its modification would benefit the city. The panelists included members of CLERB and MSPJC.

During the event, an attendee asked if CLERB would have the ability to demand punishment of officers who unlawfully shoot and kill civilians.

Brad Watkins, executive director of the MSPJC, informed the questioner that CLERB would not investigate criminal matters and “is not the answer to our problems.”

For significant progress to be made, Watkins said, in addition to CLERB, there needs to be a confidential counseling program for Memphis Police officers as well as replacement of leadership in the MPD and at City Hall.

“We have to have a complete change in the culture of MPD,” Watkins said. “Not only the culture of MPD and how it relates to its citizens, but the institution of MPD and its relationship to the psychological health of the officers themselves. Without these things, we’ll only have further harassment and violence in our community. The MPD has to be accountable, open to the public, and [responsive] before there’s a murder and a protest — not constantly playing catch-up afterwards with token gestures that don’t change the reality of people’s lives.”