Tag: Louis Goggans

Categories
Calling the Bluff Music

On the Come Up: Knowledge Nick

254459_3868200112803_311685401_n.jpg

If there were a search for a true emcee in the Bluff City, people wouldn’t have to look any further than 23-year-old Hip-Hop head, Nick “Knowledge Nick” Hicks.

The University of Memphis graduate and Towers Watson analyst has been dabbling with words since his mid-teens.

“Writing songs started off as something to do for fun, but as time progressed it became my form of relief,” Hicks said. “When nothing is there and nobody is there, music is there for me to release my innermost feelings.”

A hobby during his teen years has blossomed into a second career. Hicks has two albums under his belt, The Enlightenment and The Transcribed Sentiment, which he estimates have collectively moved more than 1,000 units.

He’s currently prepping for the release of his third album, “Memphis: The Soul of Hip Hop,” on December 8th. Along with his previous work, his latest project can be purchased on knowledgenick.bandcamp.com.

“The new album is like an ode to Memphis and all the influences from my upbringing,” he said. “This album broadened my track selection horizon. With my first two, it was more or less like I could only listen to them in a certain setting, which is cool. But I think with this album, it’ll reach so many different people and you can listen to it in different settings — when you’re riding, at home, whatever.”

Hicks released a four-song EP in September to provide fans with an appetizer while they wait for the full course this December.

On the EP’s opening track, “Livin’ the Broke Life,” Hicks finds himself expressing the hardships that come with pursuing a rap career while low on funds. At the end of each verse, he states, “Even though I live the broke life, I’m blessed regardless,” which conveys his dedication to stay driven despite any obstacles. Boonie Mayfield produced the track.

With the second song, “The Karma,” Hicks provides listeners with an earful on his failure to grasp the true meaning of love during his younger years.

He spits honest, heartfelt lyrics about seeking women primarily for physical satisfaction but over time developing a different appreciation for them. Over a mellow beat laced by Fathom 9, Hicks cites utilizing God’s unconditional love to help eradicate the old habit and enjoy growth.

The third track, “Reign Supreme II,” featuring Toby York, would make hip-hop legends such as KRS-One (Hicks’ favorite emcee) and the Wu-Tang Clan proud with the stellar lyrical deliveries provided on it. The song is produced by Arze Kareem and boasts an East Coast-oriented feel.

The EP’s final song, “Flexxin No Plexxin’,” featuring Sincere and A-Quest, finds Hicks and company showcasing their lyrical prowess once again. The smooth, bass-ridden track provided by Mark G is a great addition to the trio’s witty lyrics, which don’t disappoint.

Hicks’ music possesses a sound that’s different than the typical Memphis rap artist. He has the ability to cater to the raw and gritty hip-hop heads, along with those who prefer a more laidback and mellow delivery.

He credits his diverse delivery to growing up on a wide variety of artists that include Playa Fly, Three 6 Mafia, Gangsta Blac, KRS-One, EPMD and Gang Starr.

Although he’s chosen to take a musical lane that might not be every Memphis rap fan’s cup of tea, he’s not worried about this limiting his success.

“I think Memphis has to really embrace the fact that there are a crop of artists who are different, who are just changing. It’s not the same monotony of stuff just being infiltrated over and over and over again. I think change is good from time to time,” he said.

Follow him on Twitter: @kdotnick

Categories
Calling the Bluff Music

Flying High: My experience aboard the Memphis Belle

photo_2_.JPG

A couple weeks ago, I had the chance to fly nearly 2,000 feet above the city on a replica of the legendary aircraft, the Memphis Belle. I wrote about the experience in the Memphis Flyer’s Fall Fashion issue (Oct. 18-24th).

Many are familiar with the Memphis Belle, but for those who aren’t, the aircraft was one of the first B-17 World War II bombers to complete 25 missions and safely return all of its crew members. When I boarded her replica, I prayed that I’d have the same fate.

My flight came courtesy of the Salute to Veterans national tour, presented by the Liberty Foundation, which began in March. The tour stops in a different city every weekend, and was developed to bring awareness to WWII veterans. According to the Liberty Foundation, more than 1,500 veterans die per day.

Since March, the Memphis Belle replica, which was used in the 1990 film “Memphis Belle,” has traveled to cities such as St. Louis, Tulsa, Minneapolis, and Chicago providing rides to locals. During each stop, local veterans also come out and share their war experiences.

“My goal is to let the local veterans know not only do we appreciate the sacrifices in WWII, but we wouldn’t be sharing this history today without them,” said Scott Maher, director of operations for the Liberty Foundation and one of the Memphis Belle’s pilots. “We want [people] to come out and experience these things in its natural habitat, which is in the air. The experience gives a history lesson that’s not in the pages of a dusty book.”

The original Memphis Belle is being restored at the National Museum of the United States Air Force in Dayton, Ohio. The replica I flew aboard was equipped with 10 seats, 13 50-caliber machine guns and bombs, and a glass nose, from which passengers can gaze down onto the city.

Flying throughout the city on the historical aircraft was something I never thought I’d have the opportunity to experience, but I’m thankful that I did.

Categories
Calling the Bluff Music

Sinister Thoughts: My analysis on the horror film, Sinister

sinister.jpg

Last weekend, I traveled to the Paradiso and purchased a ticket for the supernatural horror film, Sinister.

A good friend of mine informed me that it would be “a great horror flick to check out.” That advice, along with the fact that James Blum (Insidious, Paranormal Activity) produced the movie, finalized my decision to watch it.

The movie was released on Friday, Oct. 12th and stars Ethan Hawke (Training Day, Hamlet, Assault on Precinct 13), Juliet Rylanche, Fred Thompson, James Ransone, Vincent D’Onofrio (Brooklyn’s Finest, Full Metal Jacket, Men In Black), and others. Besides Hawke and D’Onofrio, I wasn’t familiar with the cast.

The film centers on Hawke’s character, who plays a true-crime novelist named Ellison Oswalt. He, along with his attractive, English wife Tracy (Rylanche) and their two kids Trevor (Michael Hall D’Addario ) and Ashley (Clare Foley), move into a home in which the previous residents were murdered. Initially, Oswalt is the only one who has knowledge of the murder.

Minutes into the movie, the murder (the family of four was hung from a tree in the backyard) is displayed across the screen in Super 8 camera-style footage.

That captured my attention instantly. I hadn’t done much research on the movie’s plot, so that built up intrigue.

As the movie progressed, I found out the significance behind the murder: Oswalt is using it as the basis for his latest novel.

Oswalt finds a box in the attic labeled “home movies” that has a projector and several reels of footage inside. He views the reels throughout the film. Each reel, which has its own title, shows families being murdered in various ways — having their throats slit, being drowned, hung, burned to death, and having their heads run over with a lawnmower.

Oswalt.jpg

The footage made me think about the harsh reality that real people have probably been murdered in similar fashions. Nevertheless, I was curious to see what would happen next in the movie.

As Sinister continued, Oswalt began to analyze the footage, taking note of things that caught his eye. He noticed a bizarre, demonic face appearing in each reel.

When I saw the dark, demonic figure for the first time, it spooked me a little bit. It just looked evil. It also built up more suspense, and I stayed glued to my seat for the bulk of the film.

As Oswalt continued observing the films, he also noticed a strange symbol painted near each of the murders, and that there’s a young child missing in each of the families. With the help of a deputy (Ransone), Oswalt investigates the murders to determine if they’re related.

He’s also put in contact with a college professor (D’Onofrio) who specializes in religion. The professor informs him that the demonic figure in the home movies is a pagan deity named Bughuul.

Known as an eater of children’s souls, Bughuul is presumed to be responsible for influencing young children to murder their families and then travel off with him to a different world.

I felt a few chill-bumps when Oswalt and the professor discussed the demonic being. I thought he was going to appear out of the air and start annihilating people. Unfortunately, this DIDN’T happen.

What DID happen was a series of creepy events inside the house: The film projector starts mysteriously running in the middle of the night. Dead children play a game of hide-n-seek through the house. Oswalt sees all five children who were missing during the time that their families were murdered viewing one of the home movies in the attic. This is also when Bughuul makes an appearance that frightens Oswalt and sends him falling through the floor of the attic.

Sinister_kids_2.jpg

After seeing a physical sighting of Bughuul, Oswalt becomes concerned for his family’s safety. He decides to burn the box of home movies, discontinue his novel, and move his wife and kids out the haunted house and back into their previous place.

A new beginning for the family?

Of course not! It wouldn’t be a true horror movie if that were the case. I must add that I personally would have been pissed off if the credits rolled after the family left the haunted house. The movie wouldn’t have been complete.

Oswalt makes a shocking discovery while in the house’s attic: the box of home movies that he burned at the previous home has made its way to the new house without a burn on it. The box also has an additional reel of film inside that’s labeled “extended endings.”

Of course Oswalt checks the new footage out. It shows the same murders as the past reels did, but this time the missing child from each of the families comes onscreen before disappearing. This implies that the kids are responsible for the slayings of their families.

It doesn’t stop there.

Oswalt receives shocking word from the deputy that there’s a link to all of the murdered families: they all lived in the same house where the hanging took place before they moved to new locations, which subsequently resulted in their murders. In other words, he basically informed Oswalt that he and his family were probably going to die and there was nothing they could do to avoid it.

Shortly after he’s provided the startling information from the deputy, Oswalt begins to feel weird from the “coffee” he was drinking and loses consciousness. When he comes to, he notices that he’s tied up and gagged. The same fate goes for his wife and son.

Sinister_kid_3.jpg

What about little Ashley??? Why isn’t she tied and gagged too??? Uhmm, it’s because little Ashley is the culprit that tied and gagged her fam.

She appears in the room where they’re laying with an axe and video camera in hand.

The next occurrence is pretty predictable but I won’t spoil it for those who haven’t seen the film.

After the credits rolled, I left the Paradiso satisfied with Sinister’s performance overall. The murders weren’t as graphic as I would have expected, and the film had its dull moments here and there, but overall it was a well-created horror movie. Outside of Insidious, it was definitely one of the best scary movies that I’ve seen in a while.

Next up for me is Paranormal Activity 4. I wonder if it will knock Sinister out of the water? Only time will tell.

Categories
Calling the Bluff Music

Q & A With Fiend

Fiend_Itnl.jpg

The third annual “Grammy GPS: A Roadmap for Today’s Music Biz” took place this past Saturday at the Stax Music Academy and Museum of American Soul Music. Sponsored by the Memphis chapter of the Recording Academy, the event featured a number of local and national influential music figures including hip-hop artist Talib Kweli, Grammy-winning engineers Andrew Scheps and Chris Finney, Grammy-winning producer Steve Jordan, and many more.

During panel discussions, the guests provided insight on music marketing, promoting in small markets, producing and engineering, exploring social consciousness through hip-hop, and other topics.

New Orleans-bred rapper, Fiend, spoke on two panels during the event. A true southern legend, he’s released a nice catalog of albums including There’s One In Every Family and Street Life on No Limit Records, Can I Burn 2 (my personal favorite), Go Hard or Go Home, among other solid installments.

In recent years, Fiend has adopted a mellow and soulful delivery that differs from his aggressive style in the ’90s and early into the new millennium. Although he owns his own label, Fiend Entertainment, he’s also signed to popular lyricist and fellow New Orleanean Curren$y’s imprint, Jet Life Recordings.

I got a chance to speak with Fiend about his experience at Grammy GPS, how he likes the Bluff City, his music history, where he likes to travel, and a handful of other things.

Follow Fiend on Twitter: @Fiend4daMoney
Check out his websites Fienddigital.com and Sleepybeartees.com
Download his latest mixtapes for free on datpiff.com or livemixtapes.com. Fiend plans to release a new mixtape mid-October.

Flyer: How was your experience at the event?

Fiend: It was dope. I met some cool ass people. I networked with people. I hung out with some people who share the same interests that I have. Good times. It was a hell of an experience. I can’t wait until the next one.

What’s one thing that you shared with attendees regarding the music industry?

Just stay focused and be patient, and let great things happen with your music. You’ve got to get out there and believe in you and promote and represent. And do it the best you can every chance you can. If not, nobody’s going to take you seriously.

Da_Headbussaz.jpg

How do you like Memphis?

I love it out here. I don’t get a chance to come out here as much as I would like. When I do, I like to visit Select-O-Hits. From now on, I’ll be visiting Stax. I just like the city. Get me a spot at the Peabody and chill. Walk around the hotel. Enjoy beautiful girls, good smoke, good people.

Along with DJ Paul and Juicy J, you were in a collective known as Da HeadBussaz, which released the independent album Dats How It Happen To’M. How was that experience?

It was dope. It was cool. We hooked up and showed the world that fellas could hook up and make music with no conflict — make great music without no problems or no negativity.

Are you a fan of any Memphis artists, past and present?

Of course. I like everything past and present and even the kids who are coming up and doing their thing. I got my ears to the streets. I like everybody from 8ball & MJG to Three 6 Mafia to Playa Fly. You’ve got a few dudes doing their thing. I want everybody to do good.

What’s one of the most important things that you’ve done to stay relevant?

The thing is, you gotta stay at it. That’s the most important thing that I can say.

You released your first album on independent label Big Boy records in 1995. Were you around during the label’s rivalry with Cash Money Records?

Yeah, I was but it never affected me. It was all in the love of hip-hop. Cats sometimes don’t see eye—to-eye, so they take it to music and stuff like that. It’s all good. I was there. I was very instrumental in a lot of big things over there. That was a nice run. Me, Mystikal, Partners-N-Crime, Ghetto Twinz, G-Slim, Sporty T, we had a lot of people over there.

FiendAlbum1.jpg

Transitioning from there, how’d you link up with Master P?

I was making music, making noise. We had people who knew each other, and they were saying, you guys could be working together. I ended up getting with them boys and we ended up working out something. I ended up having one of the biggest songs on the [“I’m Bout It”] soundtrack. “I’m Bout It” ended up being one of the biggest [independent] movies. After that, I got a chance to be involved with all kind of shit. Over 80 million records sold, I can say that I very much played a serious part of that.

Did you have a personal relationship with C-Murder, Mac or the late Soulja Slim?

All those are my homies. Me, C-murder and Mac, we hung out real, real tight. They’re both incarcerated right now. Soulja Slim is deceased. I’m just pushing. I want to be able to do more with my life so I can help out my homies one day.

[Fiend ended up leaving No Limit and starting his own independent label, Fiend Entertainment. From there, he would link up with one of the most successful rap labels ever, Ruff Ryders Records, home to DMX, the Lox, and Eve.]

How did you end up getting with Ruff Ryders?

DMX was getting ready to depart the label, so they were like ‘We want somebody who will be just as dope or that could shake up the world with that same attitude or that same aggression.’ They heard some of my music. We sat down and met, and we really dug each other’s movements. I was already kind of doing my thing, and them cats were already doing their thing. It was an honor to bring that legacy further than where it had already gotten to. And then being a southern boy who got with them, it was even more dope.

I understand that you’re known as International Jones, because you enjoy traveling. Where are some of your favorite places to visit?

Some of my favorite places have to be London; Mulan, Italy; Paris of course; Lahonce, France; Seattle is dope, I mean Seattle is awesome. I like LA. Atlanta. And I just found a little place called Sarasota, Florida. That shit is awesome. Another place is Canada! Montreal, Victoria, and Vancouver Canada. It’s a lot of dope places. I’m a water man too. I don’t mind traveling by water. I rent a yacht maybe once a month just for me. I really like being on the water. It’s just relaxing. It’s tranquil.

Fiendmixtape3.jpg

There’s an artist on your album, Can I Burn 2, named J-Boy. I really liked his flow. On the album, you mentioned that he would be releasing his own album soon, but I never heard anymore from him. What happened to him?

He was murdered. He ended up getting away from me and doing his own thing. He got into some other things, and people got envious of him. They saw a well-off, young dude doing his thing. I don’t really know what else he was into, but from what I heard he got set up and they killed him trying to rob him. (Takes a moment of silence and utters ‘Rest in Paradise J-Boy’)

Your music has changed. It was more rowdy earlier on but now it’s more smooth and relaxing. What brought the change?

It’s whatever the beats call for. I’m just an instrument. I vibe off the track. It’s wherever the track pulls me. I fit the music. I still make it all. That International Jones shit is just me man …traveling, women, fast cars, just chlling, just having fun.

You were invited to Dr. Dre’s house to work on his Detox album? How did that pan out?

We got word that he was interested and he reached out, but [there was a conflict of schedules and] it just didn’t work out. I haven’t worked with him before, but I’ve been making joints, so hopefully one day he’ll call me and tell me, ‘C’mon man.’

You’re also a producer and have produced for Jadakiss, Lil’ Wayne, and others. Do you like producing more than rapping?

I love producing. I love rapping. I just love making music. I do love producing, but I’ve kinda took a break to focus on one more than the other.

How has it been working with Curren$y and being signed to Jet Life Recordings?

That’s the homie. It’s all good. I fucks with him. We out here living this Jet Life. Iron Gang shit. We chilling, making good music, traveling, making alternative tunes for people to chill to, because it’s so much around them that’s going on.

What’s up next for Fiend?

I got a few things coming. A book, some movies, I’m not just putting all my ducks in a row. But more entertainment, real life, partying, and just showing cats this cool shit. I want to help cats get some money. Just hold tight, it’s gonna be real nice. Well worth the wait.

Categories
Calling the Bluff Music

Underground King: M.C. Mack

MC_Mack.jpg

Memphis rap legend M.C. Mack knows the true meaning of consistency. He hasn’t looked back since penning his first rhyme in the sixth grade. By age 37, he’s sold more than 150,000 records independently and is considered a legend by many in the South.

He’s currently prepping for the October release of his latest album, Pure Ana Volume 4: Portrait of an Assassin. The album, which is the fourth installment of his Pure Ana series, will be available exclusively on iTunes, Selectohits.com, and IAPStore.com.

“With this record, listeners can expect that Memphis flow. I’m gonna keep it Memphis,” M.C. Mack said. “I have a track called “The Black Emmanuelle” that’s real laidback. I’ve got life songs like “Bring My Homie Back,” which is for all my dead homies.

“There’s “Do You Remember,” which talks about the old club days, the old skating rink, the old Libertyland and all that. I’ve got the “Drug Song Pt. 3” featuring Scan Man. I try to give fans a wide variety of songs to select. If you’re a M.C. Mack fan, you’re definitely going to dig part four. It’s most definitely my tightest work yet.”

M.C. Mack obtained his initial exposure through his affiliation with Three 6 Mafia. He was once signed to DJ Paul and Juicy J’s Prophet Entertainment (the two would later go on to found the extremely successful label, Hypnotize Minds).

His smooth but tongue-twisting lyrics can be heard on several of the labels gold- and platinum-selling albums, such as Three 6 Mafia’s Chapter 2: World Domination and When the Smoke Clears: Sixty 6, Sixty 1.

He was also a founding member of the group, the Killa Klan Kaze, along with labelmates Scan Man and K-Rock, who would later be replaced by Project Pat (fresh from incarceration at that time). The group shortened its name to The Kaze and released its first and only album, Kamakazie: Timez Up. It’s sold around 50,000 units independently since its 1998 release.

KAZE.jpg

“I’ve achieved a lot as far as the Memphis music game goes,” M.C. Mack said. “There haven’t been too many Memphis rappers who have been heard on platinum records and gold records. I’m one of few. Thanks to Paul and J. They gave us an opportunity to get heard and exposed.”

Noticing the success that could be obtained from taking the independent route with music, M.C. Mack, along with partner Scan Man, decided to form Kami Kaze Productions. Still signed to Prophet Entertainment as artists, the two, also producers, provided local artists with production.

However, this caused some confusion with DJ Paul and Juicy J, who both wanted a cut from the duo’s profits. The issue also brought forth a delay in M.C. Mack’s solo album release. He would later depart from the label and, with the assistance of Scan Man, transform Kami Kaze from a production company into an actual music corporation.

“Once we started doing our own thing and making a little noise, I felt that they felt threatened or something because they stopped answering calls and stopped coming around when it was time to get down to business,” M.C. Mack said. “When we started making music and distributing it, the business part kind of fucked up the relationship. They didn’t want to fulfill their end of the contractual obligations with my solo album.

“It was like, damn, I’m stuck between not being able to record or put out my own music because they wanted a cut out of it. The distributor didn’t want to put it out because he didn’t want to take the risk of getting a lawsuit for putting out music that wasn’t authorized. It basically held up my whole career [at the time]. That’s kind of when the falling out began. Really, it was just a misunderstanding because now record labels are allowing artists to do their own thing,” M.C. Mack said.

After leaving what could be considered the most successful rap record label in the city, M.C. Mack put his all into transforming Kami Kaze Inc. into its own successful enterprise. Acquiring a handful of artists and releasing nearly 20 albums on the label to date, it’s safe to conclude that the label has been prosperous.

Now a couple of decades into the game, M.C. Mack said his passion to create music is as strong as it’s ever been. He said the idea of leaving the rap game is a thought far from his mind.

“Music is my life,” M.C. Mack said. “When I go in the booth to record, I still get the same chill bumps from back in the day. The passion is still there. It’s probably even stronger now. Back in the day, we were doing it just for the sake of recording. Now that we’re able to make money off of it, there’s even more passion in it. It’s an art of expression just like dancing and poetry readings. It’s also something that keeps me out of trouble and a way to do something positive.”

Follow him on Twitter: @MCMack4Life
Check out some videos on his YouTube Channel: MCMackMusic

Categories
Calling the Bluff Music

Q & A With Lil Lody

lody-foolish.jpg

Hailing from the New Chicago neighborhood in North Memphis, 23-year-old rapper and producer Lil Lody has come a long way. In 2011, platinum-selling rap artist Young Jeezy snagged him to produce several songs on his album, Thug Motivation 103: Hustlerz Ambition. In addition to Young Jeezy, he’s also produced for Plies, Fabolous, Yo Gotti, Waka Flocka Flame, Rick Ross, and P. Diddy among others. As an artist, he’s released a hefty installment of mixtapes.

Lil Lody took time out to visit the Memphis Flyer headquarters to talk about his latest mixtape, Foolish, along with what artists he enjoys working with the most, the passing of his 10-year-old sister, being sued by Memphis rap heavyweights Project Pat and Juicy J., and much more. You can follow Lil Lody on Twitter: @LodyLucci.

Flyer: On your latest mixtape, Foolish, you touch on some personal topics primarily in the song “Foolish.” One of them is losing your 10-year-old sister a few years ago. Can you elaborate on this?

Lil Lody: It happened on December 28th, three days after Christmas. She was in a car wreck. She was on her way home from the skating rink in the car with some more people. As they were getting ready to turn, a police officer was coming fast down Jackson. He tried to hurry up and turn the lights on, but it was too late. They were in the turning lane. They had their turning signal on, and the police car just hit them. Boom! The car flipped multiple times. She flew out of the car. We couldn’t even find her.
By the time we did find her, she was still alive, but they said her brain was dead. She was pretty much gone when we got there. They tried to put her on machines and stuff, but she wasn’t responsive. It fucked me up mentally and physically. I’m past all of that. I feel like death is something that’s going to come. Nobody can run from it, and you can’t change it when a person dies.

In “Foolish,” you also mention being signed to D. Brady Entertainment, a record label founded by Project Pat and Juicy J, and subsequently being sued by them. How did that happen?

When I deal with people, I don’t deal with people on a business level. I deal with people on a more personal level first, then we can get into business. When I did the agreement with them [signing to D. Brady Entertainment], they promised me a lot of stuff. They told me, ‘You should sign with us. We’re going to do this for you. We’re going to get that.’
But when they brought me into the picture, it basically wasn’t that. They were just trying to use me to get beats. I kept telling them, ‘I’m a rapper. I was a rapper first.’ They were hearing me ,but they weren’t hearing me. They signed me as an artist. That’s what the contractual agreement was about. The beats didn’t have anything to do with it. They wanted me to be a rapper, come out with an album and all that. If you look in one of the albums’ artwork they put out during that time, you’ll see my name, ‘Coming soon, Lil Lody.’
I was seeing that they weren’t fucking with me, but I was still making moves. One day, I just called them and told them I wanted to get out of the contract. I told them, ‘I don’t feel like anything moved for me. Y’all are not keeping your promises. Y’all have breached the contract because y’all haven’t done anything that y’all said y’all were going to do. Y’all haven’t given me an advance. Y’all haven’t given me any money. Y’all haven’t done anything but bought a few beats from me.’ I was giving them, like, 10 to 15 beats for $1,500 to $2,000. I know that they’ll never tell you anything like that but I will. I can’t sugarcoat anything.

Screen_shot_2012-09-05_at_2.20.23_PM.png

I ended up meeting [Young] Jeezy. We vibed off the rip. As soon as the “Ballin” song dropped, Def Jam gets a letter from D. Brady. I asked them why they’re suing me and they said basically because I was signed to them as an artist and they feel like they helped me blow up. I was only messing with Jeezy on a producer level. They had me signed as an artist.
I was trying to understand how they could do that. But really they had me locked all the way around where I couldn’t do anything like that without their permission. I fought the case. They were asking for $250,000 at first. My lawyers broke them down, and they couldn’t show any proof of where they gave me $250,000. They couldn’t show any proof that they gave me any advance or anything, so they had to end up settling for $50,000. I gave it to them to keep it moving with my career.


[Lil Lody signed a contract with D. Brady Entertainment. He was sued due to producing for outside artists without the company’s permission. A settlement for $50,000 resolved the matter. He also left the label.]

Since leaving the label, have you signed to anyone else or started your own label?

I’m unsigned right now, but I have a lot of deals on the table. Right now, I’m trying to be my own solo, standout artist. I don’t really want to sign to anybody that already has some other people. People would be saying, you got co-signed by such and such and that’s really the reason you’re on. Right now, I think I’m on the right track. My priorities are all straight. And right now, my name as an artist is getting where it’s supposed to get. That Foolish mixtape touched a lot of people, and I didn’t know it was going to do that.

Considering that you began as a rapper, what drove you to producing?

I started rapping and I was looking for producers to make me beats. Nobody could make the type of beats that I wanted. Everybody who I tried to spend money with tried to charge me a high price. The price wasn’t anything but their sound was whack. I was like ‘Fuck it. If I can do this, I can do that too, so I started making beats.’ It took me about two years to get it down. I’m not gonna say I was the best then. I was alright, but the more that you fuck with it, you’re gonna get better. It’s day by day.

What are some musical devices or instruments you enjoy using when you produce? And is there a certain approach that you take?

I started off with Fruity Loops. The next step was MPC 4,000, the MPC 3,000, the Phantom, Triton, Reason, Logic. I started messing with everything just trying to combine them all together and see what I could come up with. I like Fruity Loops the most [because] I like to move quick. Not saying that the other types of equipment are a waste of time, but they’re going to make you take longer. With Fruity Loops, I have all my stuff down-packed. I have all of my sounds. When I put in my beats, people know it’s me.

Lil_Lody.png

How long does it normally take you to produce a song?

It takes me 10 minutes to make a beat. I have to be zoned out or be in a certain type of mood some time. I might go a whole two weeks without making beats because I’m handling stuff that’s going on in real life. I got a really busy life. When I do get time out, whatever I’ve been doing is going to come out on that keyboard. Once I finish making beats, I play them to my homies. I ask them what they think. The beat has to go through five or six different people before I release it.

Who are your three favorite artists to work with when you’re producing?

Out of all the artists that I’ve worked with, my three favorites are [Young] Jeezy, [Yo] Gotti, and Plies. When I get in the studio around them, I can relate to them more than anybody else. We’re all hands on, and we all kind of act the same.

Who are some artists that you would like to work with in the future?

I would like to work with Dr. Dre., Snoop Dogg, Ice Cube. I like messing with the legends. I like to get in with them and see where their minds are at, because they can show me more with what I got going on with myself.

Nationally, you’re known more as a producer than an artist. Do you think it’s important to show people that you’re not just a talented producer but an artist as well?

It doesn’t really matter. They’re going to catch on sooner than later. A lot of people tell me, ‘You one of the hardest rappers-slash-producers that’s out.’ Not trying to compare me to Kanye or any of them, but a lot of people can’t do that. You have to have a real skill and talent to do that. Like Kanye, he’s dope at it. Dr. Dre was dope at it when he did The Chronic and all that.

In a lot of your music, you make reference to the street life. How was it for you to indulge in that type of lifestyle?

It was kind of cool. You get your money. The thing that I can say is when you’re playing in that field, it makes you really paranoid. You’re cautious of everything and everybody. It’s with certain stuff that you do, such as you watch how people talk on the phone. I still don’t answer my phone for anybody to this day. I don’t text that much. None of that. If I want to see somebody, I still speak to them face-to-face because of my past. A lot of stuff can mess you up, so you have to watch everything really close. The money comes really fast and it’s cool, but you have to pay attention because the wrong move can mess you off.

lil-lody.jpg

How was your upbringing?

My mom and dad always spoiled me. Whatever I wanted, they always spoiled me. My daddy, he lived the fly life — had cars everywhere, houses, and all that. But he ended up getting busted and going to jail. A lot of that came on to me. Whatever was left over came on to me, and it was up to me to continue what was going on. I knew that at some point in my life, I was going to have to stop what I was doing before it got too late. I had to transfer and do something the right way to keep the money coming in.

How is your view on religion? Were you raised in a religious household?

I believe in God. You gotta pray for every dollar that you make. Keep your head up and believe in God. My family wasn’t just real Christian, go to church every Sunday, and all of that. I can’t act like I go to church every Sunday. I can’t remember the last time I went to church, but I heard if you pray, it’ll work. I pray a lot.

What’s up next?

I got another mixtape coming out in September. I feel like I got the game right now nationally. Foolish touched the people so much, and it’s like they’re addicted right now. I’m also working on Plies’ “Purple Heart” album. That’s fixing to come out. It’s going to be crazy. I did a few of the songs. I’m working with Young Scooter. I did the Colombia track for him. I didn’t put my signature. That’s how I’m starting to mess everybody up.