Live from Mass. Ave.

Virtuoso first came to attention in 1996 with the track …. Omnipotence…. on Brick Record’s Rebel Alliance LP which introduced the world to then unknown Boston artists like Mr. Lif and 7L and Esoteric. He was featured on 7L and Eso’s Direct Records releases, “Protocol” and “Headswell” and the Army of the Pharaohs project before dropping his own “Incinerator” “Orion’s Belt” 12 inch on Brick. Since then, Virtuoso has dropped two more singles, “That’s Why” - which was poorly received by underground heads but gained commercial acceptance in the form of mainstream radio play in the Boston area - on his own Omnipotent label and “Beatdown” featuring Jedi Mind Tricks and T Ruckus on Raptivism.

In the past year, Virtuoso and his people have made an effort to bring Boston’s up and coming hiphop artists to the forefront of the city’s nightlife by rocking shows in prominent clubs in Beantown. His “That’s Why” Release Party at Bill’s Bar on Landsdowne Street featured performances from hometown MCs Iyadonna, D. Auguste, REKS, Mic Stylz, and Skitzofreniks. Virtuoso has also consistently made it into the finals of the annual Boston MC Superbowl Battle. Competition has been no joke in the Boston battles with Apathy, Akrobatik, Esoteric, Alias, Mr. Lif, Sage Francis, Adeem, Jay-Son of Kreators, Checkmark, Ams One of Clokworx and Professor Shuman flexing lyrical skills.

While working on his LP, Virtuoso took some time out for a talk. I met up with him in front of the Middle East on Massachusetts Avenue in Cambridge, the stage for some of the more eclectic hiphop shows in New England. Since he is taller than a bastard, Virtuoso was easy to spot standing on the comer with his partner Snype. We grabbed a bite to eat at McDonalds, then dipped in his older model Lincoln Mark VIII for a quick chat.

Q: Go ahead and introduce yourself

V: Yo, what’s up? Its Virtuoso, emcee extraordinaire.

Q: So what have you been up to since your last release, “That’s Why”?

V: Been finishing up the album. It’s real hot. Like eighteen tracks with interludes. Mixin’ that down. Finishing up some cuts on that. New single with Jedi Mind Tricks. It’s called Beatdown. The whole album, we’re working on distribution fight now but that will be dropping shortly. Maybe in the summer. It might be awhile but it will be worth it. Been working on starting my own company, Omnipotent Records. Producing my stuff and we got some other artists on the scene. People no ones ever heard of but real good talent. New artists on the scene. Throwing a lot of shows at the clubs around here. Trying to bring local artists to the bigger clubs. Trying to bring what’s hot, what’s more underground, into the mainstream clubs.

Q: Is it a challenge in Boston to do that?

V: We’ve been selling out the spots but we’ve been promoting like crazy. At first it was hard. People think there is going to be violence at hiphop shows. The music is positive. It’s not all thuggish. So we haven’t had trouble. It’s going well. We’re getting the biggest clubs in the city.

Q: When did you first come out? On the Rebel Alliance LP, right? What other releases have you been on?

V: Yeah, I came out on the Rebel Alliance LP. That had tracks by me, Mr Lif, 7L and Esoteric, Architects of Intellect, Tony Infamous and that was my first. A song called “Omnipotence”. I was also on “Be Alert”, or the Transformers Song as it is also well known as. After that, another song on the 7L and Esoteric 12 inch, “Protocol”. So that made some noise. I rapped on their next 12 inch as well. That was “Headswell”. On Direct Records. Production by Vinyl Reanimators. Then I was on the Army of the Pharaohs record with Bahamadia . Chief Kamachi, 7L and Esoteric and Jedi Mind Tricks. I just came out on a DJ Vadim record with Mr Lif and Esoteric. Dead Prez “Behind Enemy Lines Remix” featuring me and REKS and a joint on the No More Prisons album, This Is A War from the point of view of a prison guard. What else? I can’t even remember. We’ve got an entire Army of the Pharaohs album coming out.

Q: An entire album?

V: Yeah, entire album. We just got some verses down from Ruck from Helter Skelter. He’s gonna be on it. Bahamadia will probably be on it.

Q: How did you hook up with Jedi Mind Tricks and Bahamadia?

V: Well, I hooked up with them because 7L and Esoteric had been talking to them for awhile. They had similar styles of music. Heard of each other and got in contact. They had this idea for an Army of the Pharaohs record. We were working together a lot at that point so it all went well together.

Q: And how did you hook up with 7L and Esoteric? Just around Boston or Cambridge?

V: Uh, yeah. I hooked up with them. I was rapping in my high school and how I met them was through this host at WERS. She was one of the main hosts, Cherry Martinez, She’s actually the host on Hot 97.7 up here and had been on Hot 97 in New York too. She was at my high school. Someone came in my Spanish class and said, ” Cherry Martinez is in the cafeteria and she’s listening to people rap.” So they got me a fake note and that got me out of class and I went down there. She told me she liked me and that she was having a showcase at the Middle East for new artists. I went down there. I freestyled. I hooked up with Mad Soul who produced “Omnipotence” and 7L and Esoteric. Actually, it was God Complex at the time. There was another MC in the group named Karma. He does graphics for Landspeed and Brick and has done a lot of mine too. I didn’t actually talk to them at that point but later I met them. I had been hearing their stuff on the radio already. I was impressed because I didn’t know anyone from Boston was putting out records at the time. I met Mr Lif at a party and he told 7L and Esoteric, “I met this dude. This white dude who raps using all these big words” (laughs) They knew who I was from the show and wanted to talk to me but I left before they got a chance. So he was like, “They want to offer you a spot on this Rebel Alliance Compilation. So then they wanted me to rap on this other song, they gave me this beat. The Transformer - Be Alert beat. From there we were working together a lot. We took a break because everyone was thinking we were a group but my name wasn’t in the group so we stepped away. We still do group stuff but I like to experiment with different sounds beside complex scientific or real grimy underground stuff I like all kinds of stuff I listen to all kinds of music. Rock N Roll. All types of stuff. I’m trying to branch out. I’ll still do Army of the Pharaohs and III be on the Soul Purpose too. Its not all about grimy samples and (bobbing head). Music is about dancing too. There is nothing wrong with making people dance and have a good time. There’s synthesizers. Live instrumentation. All kinds of stuff you can do.

Q: You toured Europe with them too. How did you like that?

V: I did a two week thing in Europe three years ago. It was supposed to be some shows with the Artifacts. In Amsterdam mostly. The next summer we did a whole month long thing with Del the Funky Homosapien and Casual. We did eighteen or nineteen shows in thirty days, That was fresh. Got to see all of Europe. I’ve done stuff in Nashville. Lots of stuff in Philadelphia and Rhode Island and Connecticut.

Q: Haven’t you competed in the Superbowl MC battle up here?

V: Yeah, two of them. I was in the Blaze battle too. I finished fourth.

Q: You like that outlet? That battle outlet?

V: Yeah, battling. It’s cool. To me making records is the most important thing. I think a lot of people view me as a battle MC. I can certainly freestyle about anything. I’ve battle lots of people but to me making records is most important. That’s where success is really gonna come. That’s where you’ve got to move people with messages. Listen to my album. There’s a lot of deep lyrics. A lot of people are only rhyming battle lyrics. That gets really old and boring to me. A lot of underground people want that but that gets old. You can only brag so many times. That’s mostly what battling is. I like to be cocky too and say I’m the man. that just gets old after awhile.

Q: What are your inspirations when you’re writing?

V: It depends if I’m writing stories or messages. It’s always something that has happened to me in
the past. I sit down and write it out and put it in a way that sounds exciting. If it’s battle stuff, I’m
usually thinking about someone I don’t like.

Q: Ever get inspired by hearing a bad record or someone else’s record?

V: All the time. I don’t know, man. People say to me, I never copy anybody. I don’t know anyone who’s never done it, I mean, I don’t sit down and copy someone’s record but you hear something good and it inspires you to make something. Nothing wrong with being inspired by someone else.

Q: How do you think Boston hiphop is perceived by outside communities?

V: Perceived as… I think on the national level. It’s perceived as… the Made Men are real thuggish… That’s the biggest representation from here. They’re good. But I think they put a negative hardcore spin on things. There’s Ed O.G.. I think he is a good representative of things. Definitely one of the biggest people. He’s viewed with respect all over the world. I think on my level, who is close to that next level, who’s done stuff in other parts of the country, I think it is viewed as intellectual type rap. Cambridge and Boston and the places around here are very educated places. There’s a lot of universities around here. I don’t know how people view it but I view it as progressive and intellectual. There is a lot of cleverness in the music and lyrical depth. I would imagine that is how other people would-view it in other parts of the world.

If you hit the Boston area, check for Virtuoso performing on a regular basis in the city’s clubs.

J.Rawls is a man with a demeanor as laid back as his trademark jazz influenced production. This year will feature not only the release of an album by Lone Catalyst (J.Rawls and J.Sands), but his own solo project “The Essence of..” as well off of Groove Attack records. Aside from those projects he is also one half of B.U.K.A Entertainment. The label has several 12”s scheduled for release thus far this year. I had a chance to catch up with J.Rawls to talk about topics like being on a foreign label and his definition of his style on the mic.

Jbutters: Copywrite from MHz described Columbus’ hiphop scene as one dope open mic and a bunch of ill cats. Why did you choose to stay in Ohio as opposed to going to a city with a larger scene like some other crews?

J.Rawls: This is home and this is where I like to be. I can travel if I need to. Its going to make them blow up faster because they’re in the place to be and we’re not but for me this is home and where I’d rather be. I can create because I have a better vibe here. I am not down with the New York vibe and I don’t have to worry about that, I can concentrate on creating my own thing.

JB: Plus it also helps build up the area your coming from.

JR: Exactly

JB: I read through your bio and it seems a lot of your success has come just as much by hitting people off at the right time as it did with talent. What other options did you have if things didn’t work out the way they did?

JR: I don’t know, I really didn’t have any other options. I’d probably be working in some corporate office for the rest of my life. I just got kinda lucky. Its who you know, you can have talent and not know anyone and not go anywhere. Then again you could have no talent, know everybody and be a star. I’m very blessed.

JB: Being on Groove Attack (German label), do you see any differences being on a foreign label as opposed to a domestic one?

JR: Heck yea!, the main difference is we don’t get as much push in the States as we would like. That’s one of the issues we’re dealing with now. I really want more push in the States that’s what we’re looking for. That’s the biggest difference that comes to mind.

JB: Has it opened many doors for touring overseas?

JR: Yea definitely, but those are few and far in between. Europe has a touring season from May to September, and after that there is really nothing to be done up there.

JB: Are you releasing the Lone Catalyst album off of Groove Attack as well?

JR: Yea it’s coming soon. Actually you can get it now from Hiphopsite. We’re trying to create a lil buzz for it.

JB: If it were up to you would you have chosen to release the Lone Catalyst album first?

JR: I would have liked to drop the Lone Cat album first. Different things kept it from happening like that, so we just had to do it the way we could. I’d rather have something out then nothing at all.

JB: A lot of people working through distance have said that it puts a lot of focus on quality and improves networking. Do you agree? What are some of the positives and negatives of you and J.Sands working between states?

JR: The negatives are of course we don’t see each other all the time and because we live in different states it’s harder to vibe. The positives are that we can grow and breathe. We don’t have to be up under each other all the time so that helps. Then when we get together its much more magical because it’s like lets make it happen. With email and cell phones its like he is down the street so it don’t matter

JB: What are some examples of some beats on your album that you wouldn’t necessarily find on a Lone Catalyst?

JR: A lot of the beats because J.Sands is real picky when it comes to beats. He picks a certain steez so it’s real easy for me to come up with a J.Rawls album because other artists like the ones he doesn’t pick. A lot of the ones on the “The Essence of…”, like Meniscus, Sands probably wouldn’t have dug too much. A beat that he isn’t feeling another artist might because I like to do different styles and try different stuff.

JB: How did you decide who was going to rhyme over which beats?

JR: I gave everybody a few beats, they chose what they were feeling and the subject matter. It came together pretty well.

JB: What do you think is something that is missing from a lot of today’s production?

JR: #1 is samples and #2, in a lot of today’s music cats sound like they rushing. There isn’t much originality today. They will find a quick, easy sample that everyone has already heard and use it instead of diggin. I think diggin is an art and a good thing.

I met All Natural through J. Sands at Scribble Jam in Cincinnati the same year Eminem battled Juice

JB: I know you also rhyme in addition to producing. What type of MC do you consider yourself when it comes to style and topics?

JR: I’m not your average ordinary cat. I don’t really feel I have the voice to emcee but I do feel I have something to say. Anytime I hear a beat that makes me feel like saying something I’ll rhyme to it. All of my songs will have a purpose not just some dumb rhetoric. There will be a point to it. That’s the kind of MC I consider myself to be. I’m gonna hit you with style and harmony. I’m not going to scream at you, I’m gonna subtly hit you. There is going to be a J. Rawls “They Can’t See Me”’ remix. I’m gonna kill em real stylish and that’s my steez.

JB: You’re one of the few cats that has, or at least admitted, to making mad contacts through sections of magaziness like Vibe or Stress. What other ways of networking did you use to get in contact with the diverse group of MCs on your album?

JR: I met Mr. Complex through Apani whom I met through Wes Jackson of Sevenheads. I met Cognito from Mass Influence first from talking to him at Fat Beats Atlanta. We hooked up and did a few shows with them and they became fam. I met All Natural through J. Sands at Scribble Jam in Cincinnati the same year Eminem battled Juice. Its all about networking. I got Matt Fingaz number out of Vibe, I called him up and we linked up a little bit.

JB: With both the Lone Catalyst album and “Essence of..” coming out around the same timeframe did you exhaust yourself making all the beats or did you just have a lot of material in the archives?

JR: A lot of the beats were in the archives. I try to make beats every time I get a chance so I had a lot of beats around. I’d tweak a beat here and there but a lot of those were done, I would just fix them up a little bit. The way music is the stuff that you hear today, people probably made a couple years ago. It takes that long to get out so you guys wont hear the stuff I’m doing now for a couple years, that’s how I work.

JB: What’s the significance behind the label (B.U.K.A) being named after one of your friends?

JR: He was my best friend. He went to jail for something dumb and it was just our way of showing love. His nickname was Buka, Brothers United Keeping it and we changed it to Afficial.

JB: I heard you’re supposed to be doing production on Last Emperor’s album.

JR: I did some production but he lost his deal with Interscope and when Rawkus signed him those songs got cut. So I guess nobody will ever hear them. They took me and Diamond D off and maybe Prince Paul.

JB: Any other spots you can be spotted doing production?

JR: 3582 (Me and Fat Jon), All Natural album, The Unspoken Heard album, plus I’m going to be working with Wordsworth and El Da Sensai.

JB: Being influenced by so many genres of music do you have a problem with your style being labeled?

JR: You’re going to be labeled anytime you put yourself out there, you as a journalist will be labeled because that’s just the way people do. I don’t mind it all. Jazz is probably one of my favorites so its going to feel jazzy to people. That’s my roots from down in the basement with dad.

JB: Do you feel the need to really flip it on people just to change up direction?

JR: I always try to do something different. There is a joint on the Unspoken Heard that is real hard and real raw. Then there is a joint on the Superappin compilation that I did with I.G Off and Hazadous that is real rugged and people don’t expect that from me. I can do it I just don’t like it all the time.

JB: Besides email what other ways are you using the Internet to your advantage?

JR: The website (www.lonecatalysts.com), articles and reviews, the internet mags are the best. We just trying to stay out in the public eye as much as we can. If you get labeled a certain style or genre, which is underground for us, you cant get into the Source, Vibe, or XXL so we take what we can get. I don’t necessarily consider us underground we just haven’t had a chance to be on a major label.

JB: If I’m looking to buy a beat from you what type of input do I have on the production?

JR: Usually the way I do it is I send you a beat tape and you see if you feeling the steez. Once I give it to you, you pick out the ones you like and then we can sit down and figure out what we can do. If you want to make some changes, I’m open to suggestions and criticism and then we can go from there.

JB: What’s a normal price for a beat?

We usually base it on budgets. Between 2 and 3 g’s is usually how it goes.

JB: Are you very selective with who you sell beats to?

JR: I wouldn’t call it selective but I’d like to hear what you do and what you talk about. You’re not going to talk about raping women or something stupid over my beat. You can tell a witty story, something funny or even talk about crime but have a point. Like I.G. Off and Hazadous, they did some rugged stuff over the beat but it was dope and I love it.

JB: A lot of artists are looking to make that one complete album that’s dope from start to finish. Do you feel you have succeeded in doing so? If not what do you feel is necessary for you to get there?

JR: I think its close. One thing I think is necessary to get there is that we need to record in a bigger lab to get that better mix and bigger sound. We always keep growing and I think that is part of it as well.

JB: What artists are scheduled for release on B.U.K.A entertainment?

JR: We got Camu*Tao from MHz, his 12” is out right now, we have Homeskillet releasing a 12’ under his real name and we have another Lone Catalyst single coming out through Rawkus distribution. We’re doing a small tour in Europe in May. We also have a B.U.K.A entertainment compilation called “Bringing it Home vol. 1”, which will spotlight ala lot of cats around the way who otherwise wouldn’t get opportunity to be out there. We just gonna keep hitting em.

Producer, emcee, business man, filmmaker. Necro has done just about everything while he’s been in the game. Already an underground vet, with the recent release of “I Need Drugs”, Necro is about to blow up. I had the chance to ask Necro about life with Ill Bill, filmmaking, getting paid and his future plans for Psycho+Logical-Records.

l-ementary: How pleased have you been with the whole process of “I Need Drugs”? Is it selling as much as you would have liked? Have you been happy with the way Landspeed has been pushing the album?

Necro: I’m not happy with Landspeed - they haven’t done correct by me. They are not distributing it correct and they are not putting the amount of money we agreed on into the advertising. Now I’ll make this clear for new jacks: if you have a product, advertising is everything in selling it cause if people don’t know they won’t cop it. My shit is still selling out in Tower Records with garbage promotion. My shit has still sold more than other cds that have come out with big advertising with big labels all on the strength of my buzz. I got people like Violet Brown who was number 23 on The Source power list, head of warehouse, loving my cd so people love the album, so there is some renegotiations going on with me and Landspeed to make this shit right and blow the album, if not I will part my ways cause “I Need Drugs” can move 100,000 copies at least. We have done 17,000 so far, which I’m not impressed with but it’s good considering the position I’m in, get me?

l: What’s your opinion on the way Matador has handled Non-Phixion’s “The Future is Now”? How many tracks did you produce, and why don’t you put it out on Psycho+Logical, considering it is highly anticipated in the underground?

n: Matador is not a hip hop label so they didn’t understand what to do. For the record, non-phixion dropped them and non-phixion wanna blow up major label style so they wouldn’t put their album out on my label. Plus, it’s not possible, I’m indie. They need money just to pay the producers they used. Plus, Matador had to be paid 100,000 bucks + to get the album from them. I’m not in that type of position. If I was blowing up now it might have happened. I did like 8 tracks on their album.

l: Talk about growing up with Ill Bill, and the way you guys have grown together as brothers and as artists? What do you think each of you brings to the game?

n: Well, we are ill. We are white kids that keep it real. We are the epitome of hardcore hip hop. We never fronted. We rep it our way with our style with our experiences. There is no one in hip hop that can do what I do. Everything I do is something new and ill to the game. I expand the shit, naw mean?

l: What got you into doing films and who do you respect in the film industry as far as actors, directors? What types of movies do you usually watch?

n: I just love flicks. I love “Scarface”, (Brian) De Palma, Oliver Stone, (Al) Pacino, (Robert) Deniro the ill cats like (Gary) Oldman, (Christopher) Walken. Whoever is ill I love it.

l: I own both “187 reasonz y” and “The devil made me do it”. Can you talk about what you learned as a filmmaker doing each of those films, and could you talk about the whole process: how much was the budget for each, how’d you cast them, where’d you get the equipment, what kind of equipment did you use, etc?

n: Those films were pains in the ass to make. I did everything from casting to costumes to editing to everything. I paid for everything. I did the cinematography, everything, and it was hard. I learned that I need money to do some ill shit. I need one million. Those flicks were dope but they were made on small money so my resources were small but I made shit happen, for a g to 3 g’s.

l: You don’t appear in either of the two videos, except for the freestyle skit at the end of “the devil made me do it”. Do you wanna get into acting (cause that scene is funny as hell), or stick with directing?

n: Well I couldn’t get in my movies cause I was the director and it’s hard getting in the movie if you don’t have any one with a brain to do what you did, so I had no way to be in my own films. But the cheap skits are easy to film. I mean both films are my shit so I didn’t need to be in the films, but yes I want to act, I’m just so repulsed with shit cause everything is about money and business and it’s like you need money to do art and so I wanna make loot. Once I’m sitting on some loot I can delve into art like I never have but till then its that struggling artist shit and I ain’t with that. I don’t wanna be no fucking struggling artist. I wanna be a paid artist that can concentrate on art and not worry about bills. I don’t care what people say, I have suffered my whole life.

l: What did you wanna show people with the “I need drugs” video? How much convincing did it take to get Uncle Howie to appear in it?

n: It was Uncle Howie’s idea to film him. All he needed was me to put up 50 bucks for some crack, that’s it, and drive him to the crack spot, then back to the crack hotel. Before we filmed that Howie and Mordechai were smoking for 6 hours already. They were gone. Kid, the point of the video is the reality of the track.

l: Any new films underway?

n: No films. I’m just concentrating on dropping music for cats, new shit. Films will come in the future. Films take so much work and don’t make as much money as music that it’s not worth it. I didn’t get the acclaim or respect I should have gotten from doing them. I didn’t make any real money off them so I basically wasted my fucking time, but I did fulfill a need I had inside me to do it. I know I did direct 3 videos, 2 films, and one music video so I know my capability, but it’s physically draining doing everything ya self. I was the whole fucking crew for them movies I did. Everything. Go watch the films again and imagine the work that went into that, from the props to the filming to the lighting to whatever. It’s mad work. When I got a million and a crew to work for me I will bang shit out. Till then it’s just music.

l: What emcees/groups are you listening to right now?

n: I don’t like much really. I like Mobb Deep shit, just thug shit, evil shit. I don’t listen to backpack rap.

l: Do you care to comment on the recent Everlast, Eminem, Evidence beef? As an emcee, who do you feel put out the best diss track?

n: I couldn’t fucking care less. I’m concerned with getting Necro to a level where I can drop music when I want and have a bank account filled with enough money that I am finally free to do what I want artistically with out sweating another human being for support. I could care less about other peoples beefs as long as that shit don’t swing my
 way.

l: What’s the goal of psycho+logical-records?

n: To blow up big, a Cash Money or No Limit or Ruthless or Death Row or Roc-a-Fella or Hypnotize Minds or Aftermath. I just wanna be an indie with dope distribution that can drop albums that will sell 200,000 plus and more if it can do that. If not 200,000 every time is cool cause I will be sitting on cash dropping brutal shit to my fans and I will be having a ball.

l: When you gonna come up to Toronto and put on a show, cause that will be crazy! Are tour plans underway?

n: No one has booked me yet and I don’t have an agent now. A lot of people sleep on Necro but that’s fine. I’m building slowly but consistently.

l: Have you started working on a new album yet? Any new tracks that we should be keeping an ear open for?

n: yes, I recorded 15 new tracks but they feature different artists. Some are Necro solo and some are other solo artists and some are collabos, but that’s nothing. I’m recording every week. I’m getting
ready to drop a lot of shit. It’s all coming together. I don’t front, never did never will.

l: Any new artists coming out on psycho+logical that you wanna talk about?

n: Nothing I wanna talk about. Necro is the main artist of my label. When Necro blows up we can talk about others. For now let’s see Necro sell 200,000 plus first.

l: Anything else you wanna say to the fans?

n: Yeah support this shit, by going to my site, www.necrohiphop.com and buy cds, shirts, baby tees, videos, and vinyl. Or go to ya store, cop the shit or die. Help build this or get the fuck out my face. Rot.

MCs Advizer and Crescent Moon along with producers Anatomy and Deetalx form the group Oddjobs out of Minneapolis Minnesota. Though currently split between Ny and Minnesota they released the successful Absorbing Playtime EP which can be found here at ugsmag.com. Recently I had a discussion with these 4 cats about working together on music between states while attending school full time. Check it out.

Jbutters: Do you feel the fact that you are now split between Minneapolis and NY will have a profound effect on networking, future collaborations, and the overall popularity of the group?

Crescent Moon: I definitely look at it in a positive aspect. At first I didn’t think it was going to be good for the group to have us split between two separate places. We were able to come out with a fairly successful project in the midst of the separation so I think it is going to work out for the better.

Advizer: In New York we’ve already made a lot of connections, been able to network with a lot of East Coast artists, and get more shows. I think it is working to our advantage. The only drawback was it caused us to release an album with only 10 songs.

Anatomy: I agree that it’s positive because we’re still doing the same thing we were doing in Minnesota. We also have the rest of the people in CMI here so we can still do shows. That was one of the things I was worried about.

Deetalx: We can’t just sit around and record every night like we used to. We have to put in a lot more effort into getting everything across the states and working ideas back and forth so the focus is more on quality.

Right now Minnesota is one of my favorite spots for hiphop with Rhymesayers and your crew, among others. What do you feel the scene offers that allows a large portion of the artists to put out quality music?

D: In Minneapolis there aren’t as many major label groups around. People are a lot more open to new music and it’s a lot less of a competitive vibe.

AN: I think there are two reasons: Atmosphere made it work raised the bar and set a pretty high standard, the other reason being Minnesota has a good music and art scene in general so the people here have pretty good values already.

AD: The artists in Minneapolis aren’t restricted to one place. You have a mix of the Midwestern sound as well as both coasts. It’s a nice consolidation of all those influences and then you also get the Midwestern perspective.

C: Anywhere you go there is going to be a fair amount of raw talent. I think it has just taken a while for Minnesota’s voice to be heard. It’s a matter of hard work paying off.

What type of reception do outside Underground artists get from the Minnesota hiphop heads?

C: I think Minnesotans are opened minded for the most part. I think a lot of fans see it as a treat when they get to see new acts and new venues so they definitely get a lot of love.

AD: Cats in other higher populations are spoiled because they got a lot of shows so when outside artist come through everyone goes because its rare.

How are things going as far as getting a distribution deal?

AD: The distribution we do have is from these cats in Canada called “No Distribution” that basically approached us about doing distribution in Canada. As far as the process of looking for distribution its too stressful for me to answer.

AN: There seems to be a lot of distribution that’s either all mainstream or raw underground and I don’t think we fit easily into either category.

D: We did start emailing sites and sent a lot of promos and luckily a lot of them ended up liking it and now sell our stuff.

I’ve read a couple of interviews by Advizer and I kept seeing the Juggaknots as one of the influences. How hard was it to get your hands on NY underground music?

D: I think it has become easier the last couple of years as the scene has opened up but it used to be a struggle.

AN: I pretty much had an easy time getting underground music before local stores like the 5th Element, Cheapo, etc started carrying it. Before that there was still Sandboxautomatic. Mainstream was pretty easy, underground was tougher but I did get The Juggaknots when it first came out.

I’ve been talking to people about battling a lot and the response has been that they are over saturated now and no one battles for good reasons anymore. What’s the opinion on this?

C: It seems like I change my opinion on battling everyday. I see so many people who try to use it as a publicity stunt with pre-meditated sets that they want to vent onto someone just to get props. I don’t agree with that but on the positive side it is a creative outlet and an effective way to settle music disputes. People take it way too personal. I want to do it more but sometimes both people walk away from the battle like “I ate him up” even though they officially lost.

AD: I have a quick question for Crescent. How do you respond to all the people that gave you shit about not entering the last Scribble Jam?

C: I went to Scribble Jam ‘99 with the exact same mindset as I did in 2000 which was when I show up on the day of the battle if I feel like battling I would. I went in ‘99 and I felt good but when I showed up there last summer it had some funny vibes. The other parts of Scribble Jam were dope but most of the hype revolves around the MC battle so there were like 200 heads that signed up and I wasn’t trying to take a number and wait in line.

AD: I’ve seen good and bad battles. The last Braggin’ Rights was really dope but I would rather battle someone without time limits or judges. I used to battle kids in high school and I got more immediate props doing that than what I do now.

New emcees come out everyday. Do you feel any pressure to put out several releases a year so you won’t get lost in the shuffle?

AN: I really prefer thoughtful albums that sound like people put a lot of time into them. I think people should take as much time as they need.

C: Sometimes I get pretty frustrated with the new MCs showing up everyday in the sense that it’s like “Oh he raps too now?” If they really want to pay dues and do it then that’s great but I think some people’s motives are wrong. As far as releases I agree with quality over quantity.

D: You can put out 5 crappy albums with 2 good songs on them or you can put out 1 classic album every four years that people are still going to listen to. Granted you want to try to have some consistency but it’s the artist’s responsibility to try to make the best album they can.

AD: I challenge every artist to make a dope album. Its something we haven’t achieved yet and hardly anyone has but if you can make that album in a week then do it but if it takes years then that’s the route you have to take. I’d rather not see a bunch of EPs or singles in a row instead we are striving for a dope solid album.

Do you think going to school full time will affect your ability to do shows or tours?

AD: That’s a definite issue. We just got an opportunity to open for the Micranots in Chicago next month but it’s on a Wednesday so I can’t miss class. That’s a huge opportunity that we cant partake in. Personally it’s the most frustrating situation in the world because my life is school right now and to succeed in hiphop music has to be your focus. We’ve managed to do shows all over the states but it’s a definite problem as far as setting up tours.

D: On the flip side of that one I’m dropping out of NYU so this is my last semester for sure. All this stuff I’m doing requires me not to be in school. Last year there were weeks I wouldn’t be able to work on beats.

C: I decided to go back to school because I want a steady paying job with a flexible schedule to work on my music. I’m trying to find that happy medium of working on music while still being able to pay bills.

AN: If your willing to sacrifice your social life you can usually find enough time to work on music. School doesn’t ever really take up more than half my day.

What’s the formula for shows, is it 2 turntables and 2 mics, DATS, or what? I’ve even heard you guys performed over strictly beat boxing.

AD: Usually we are only operating with one set of turntables but we bring out the MPC and play that live or perform with live bands. We did a show in Providence where we rhymed strictly over the beat box from my man MC Squared just to do something different. We perform under a lot of different circumstances to try to keep it as interesting as possible.

C: There are a lot of different mixing and matching we do for shows. We like to work with different heads if some of our crew isn’t present and we make it work. I got most of my stage experience backing up Eyedea and doing a lot of shows with Rhymesayers.

What is the process that Anatomy and Deetalx use when working together on production. Do you always collaborate, bring separate beats to the table, or start from the concept and create the beat from there?

D: All of the above

AN: Basically we work on stuff separately and if we are together in the same place we will start and finish something together. Over half of them we do on our own.

D: I’d say a third we each do individually, then a third of it we do it collaboratively, and the other third is concept. Sometimes we simply wake up with the sampler right there and start creating while other times we will sit down and plan to create a certain mood or take the production towards a certain direction. Whatever works.

You have got a lot of good press on the Absorbing Playtime EP have you sent it to a lot of different radio shows to build off the buzz?

D: Actually I have a radio show on WNYU. You can pick it up on http://www.wnyu.org. It’s the Gumbo Show on 89.1 FM on Tuesday nights from 1am-3am EST.

AD: We sent it to a few people who have asked for it specifically. Everyone will have a copy soon. I also do a show called “The “Night train” on WKCR 89.9 FM every other Tuesday from 1am-5am EST. It’s the best in rare groove, soul, afro beat, and funk from the late 60’s and early 70’s. I’ve also helped out on Bobbito’s show as well.

AN: As far as radio stations we tried to make sure everyone in the twin cities has it. I’d like to get it on some commercial stations but for god sakes haha.

In one of Advizer’s interviews he was quoted as saying you guys are not from the suburbs. So what else is there in Minnesota besides suburbs, Jesse “the Body” Ventura, and Prince?

AD: We have 10,000 lakes and the malls of America, Soul Asylum, Kevin Garnett, The Replacements, Kirby Puckett. Don’t front on Kirby Puckett. Women are also one of the main attractions.

C: It’s laid back. It’s a really simple city but it’s a good place to live because a lot of people are open-minded.

AN: One of the dopest things about the twin cities is there is a lot of culture here and people are looking for something to do besides just watch TV.

D: It’s small enough where there is a good community and you know a lot of the people who go to shows. At the same time it has shit bigger cities don’t as far as diversity in the types of restaurants, theater, music, etc.

Not to sound cliché but what are some of you non-hiphop music interests?

D: Personally I listen to older jazz and rock. I’m a metal head I love that shit. I’m also into 70’s soul Stevie Wonder, John Coltrane, and the list goes on.

AN: Any groove-oriented music. I don’t listen to too much rock at all but I like older jazz, Radiohead, Portishead, anything with a groove to it. I listen to a lot of slow shit.

C: Probably the first musician I really got into was Jimi Hendrix. For the time being the stuff I really can relate to is like Portishead, but I like all types of music just not as much country.

AD: I listen to a lot of stuff I play on my radio show. I’ve been listening to a lot of Afro Beat lately, Fela Kuti, The Daktaris, and Antibalas. A lot of the modern soul groups that are really dope are on this label called DESCO Records like the Soul Providers, Sugarmen 3, and The Mighty Imperials. I’m also getting into Breakestra, a group off of Peanut Butter Wolf’s label. Moving out to NY and getting into radio has increased my knowledge of rare groove music.

What do each of you feel has been your most creative song or input into a song so far?

AN: The most creative thing I’ve done that’s been put out was “Sleepwalk” on the Oddjobs album. To me that was the most honest personal song.

D: Out of the stuff we have out the most challenging artistically was “Liberal Arts” just due to all the revisions and changes it went through before it came into being what it was on the album. I don’t know if it was my best stuff but it was my most challenging.

C: I felt the most satisfied after writing the lyrics for “Sleepwalk”. It felt like it was meant to be the way everything fell into place. I think it’s a piece I can look back on and appreciate. I definitely want to continue to be as versatile as possible and make things that will be innovative.

AD: We did a song with Eyedea called “PSP” (Philosopher Scientist Poet) which is the dopest song to me even though it had a lot of errors on it. It was a really original concept with a lot of symbolic meaning to it. That’s the one song I can always listen to and be satisfied with.

How about some Promotion

AD: You can get the Absorbing Playtime album all over the place especially at ugsmag.com. It’s 10 solid tracks. Our next release will be the Absorbing Playtime wax and the Cases of Mistaken Identity (CMI) project will be done when it’s perfect. We have collaborated with some other heads as well so hopefully those projects will be released at some point. I’m also going to try and record some songs with this cat MC Squared who beat boxes and put them out as free promo items. Its going to be rhymes over strictly beat boxes.

AN: Nomi from CMI is working on a solo album that will feature everyone from the crew and various other producers. Hopefully that will be out by next year if not before.

D: I’m selling beats. We both do freelance production. Anyone interested can email me at Deetalx@cs.com. Also check out the Oddjobs website at http://pulsate.org/oddjobs

Any lasting quotes for all the ugsmag.com heads?

AN: I’ve been listening to Latyrx all day and I want to thank them for that.

AD: Peace to Nomi and Naimless the other cats from CMI, Interlock, and everyone in Minneapolis and Saint Paul. Everyone should be checking for the Absorbing Playtime CD and wax and calling my house asking for promos so I can tell them “No, I’m too large for that!”.

C: Peace to all the girls who thought that Sleepwalk was about them