Instrumental hip-hop is on the rise. Textured and unique, Unagi’s self-titled debut is some of the freshest I’ve heard.

Kristen: What’s behind the name?

Unagi: Well, unagi means “smoked eel” in Japanese and is a really mellow, tasty kind of sushi. I’m part Japanese and unagi was always my favorite kind of sushi so when I started recording hip-hop stuff 6/7 years ago (actually I used to rap too but I put that on hold for a while) I called myself Unagi. I’m also just into underwater stuff in general, which is why I got the octopus, jellyfish and whatnot on the album art.

You’re originally from Massachusetts; what drove you to the West coast?

Massachusetts is dope in a lot of ways, but after a while I just got kind of bored there. Especially trying to do music there and get beyond a certain bar/club level. Plus most of my friends had all left town, my family had all left town, and I was just kind of kicking it. I actually had lived out west before, briefly in So Cal and Portland about 10 years ago but basically I came to the bay because I was bored and wanted to bounce somewhere. I was gonna go to NYC but my brother hooked me up with a cheap room out here, then I stumbled onto a decent job and ended up really liking it in San Fran. There’s always a lot of shows going on, tons of talented local cats, the weather is usually nice, awesome restaurants, the best weed, etc.… I been here going on 5 years and plan to stay for a while, maybe move to Hawaii eventually.

You’ve chosen to use some rare and assorted samples on your debut album Unagi - how were you exposed to such diversified selections?

I was really lucky growing up because my stepdad, who I lived with from age 6-16 was/is a serious jazz guy, musician and professor at UMass. He had a ridiculously huge record collection that pretty much took up the whole basement level of our house. Because of him, I got into tons of different stuff at a young age, plus saw a lot of concerts, got to meet some famous jazz dudes, and learned a bunch of instruments when I was a kid. So, since then I’ve just kind of had a wide range of music that I was into. Plus I do a lot of digging for records in random dirt cheap spots that have a weird cross-section of styles.

You play a variety of instruments; when and how were you taught?

I learned piano and trumpet first, probably started when I was like 7? I just learned through lessons and books, the usual stuff, but sometimes I’d play at the house with the whole fam (my step dad played trombone, my brother played sax, my mom played violin). When I was maybe 12 I got an electric bass and basically taught myself, I also got a guitar then and taught myself that, but I had my own weird system with only 4 strings and special tunings and stuff. I later got into drums which I love playing but am not that great at.

When did you decide that you wanted to be involved in actually making music?

Pretty much forever. I played in a ton of random rock bands when I was younger, some of them were tight and some not so hot, but I always wanted to make music for a living. The last group I was rolling with had some potential but everybody moved around and its really hard to get 5 people in different states all on the same page, so I figured I could get more done if I just did it all myself.

In terms of a ‘beat CD,’ Unagi is one of the more interesting and unorthodox that I’ve heard. Did you have solid direction for this project or did you just start creating?

Originally, I was gonna do it with a theme, underwater love jams. But then after the automator did “lovage” (which I thought was dope) I switched it up because I didn’t wanna look like a biter or whatever. Plus I think the faster tracks are pretty fresh. I just wanted to make it something that would kind of take the listener by surprise. There’s a lot of instrumental hip-hop coming out these days, which is great, but I think a lot of it sounds very similar and I just wanted to sound different, rock my own style.

Clearly your musical taste is eclectic; what artists and/or genres have inspired you?

All kinds of stuff…I love older epic space-funk ballads like Lonnie Liston Smith, crazy long jams from Deodato. Hendrix is the man, Roland Kirk, Coltrane and cats like that. But I’m also into death metal, oldies pop songs, dancehall, all kinds of hip-hop, whatever. I think all good music is inspiring one way or another.

What emcees would you like to collaborate with?

Lots of heads…I’m really feeling the Monsta Island Czars, those guys are crazy on the mic. MF Grimm and MF Doom, Cormega, Ghostface, ODB…as far as Cali rappers I think Motion Man is one of the best, I’d love to a track with Nate Dogg, Del and Hiero are dope…some up and coming guys I’d like to work with would be Oktober and Swamburger…

Who do you regard as the all-time hottest producer/production team?

Thats a really tough question…so here’s a few: D.I.T.C., Bomb Squad, Dre (NWA to Doggystyle era), older Beatnuts, older Beatminerz, of course Premier and Diamond D, Madlib, Havoc, Daz… I know a lot of “underground” kids might disagree but I think the Neptunes and Mannie Fresh are also really dope.

How do you feel about the happenings in hip-hop today and what artists/groups are you feeling right now?

I think hip-hop today is booming. Yeah, there’s a lot of wack shit out too, the whole computer recording explosion and the internet has made it easy for any random head to make tracks, which is good and bad, but there’s still tons of great music being made. I’m an older dude, so I remember when you couldn’t really hear rap on the radio, and now its everywhere - I saw a diapers ad the other day with some baby “scratching” on it. It’s kind of crazy but that’s how it goes. Even the super commercial stuff, Nelly or Jay-Z or whoever, I’d much rather hear that on the radio than some other bullshit “alt-rock” trying to sound like Stone Temple Pilots or Celine Dion or something. I’m feeling a lot of new acts, everybody I mentioned already, Stones Throw is doing it -Wildchild, Medaphoar, and Dudley Perkins all have hot records coming out…I like that Soul Supreme joint, Little Brother, Maspkye (Springfield represent), Dub Diablo, Lightheaded, Fat Jon, J Rawls, Science Fiction, lots of people.

Tell me about 442 Records.

442 records is my own label, its name comes from the 442nd infantry which was the unit in WWII that was all Japanese-Americans, that my grandfather was in. They were the most highly decorated (and heavily injured/killed) unit in the whole war because they were sent on the shittiest, most dangerous missions. These guys were fighting for the U.S. while a lot of their families were locked up in internment camps even though they never committed any crime. It’s fucked up because you don’t really learn about that stuff in school, and a lot of people have no idea about any of that. So calling the label 442 is basically a way to honor my grandfather and all the other guys in the crew.

What projects do you have planned for the future?

Lots of stuff…I have at least another album or 2 already recorded and am planning to get a follow-up album out by January. I’m working an a bunch of collabos with other emcees, but I don’t wanna drop any names until its all set, its gonna be fresh though. There’s a Japanese label that’s interested in doing some stuff as well, another label I might do some remixes for, I’m just trying to keep things moving…I also want to do some more soundtrack work (I’ve done music for 2 low-key porn DVDs) and am trying to get together a crazy live show so I can do a tour.

When you’re not engaged in music, what do you do with yourself?

Well, I got laid off in January so I’ve got a lot of free time on my hands…I like to read a lot, I do some writing, watch a lot of shitty, non-cable TV, play basketball occasionally, get baked, play horseshoes, have BBQ’s, that kind of stuff. I like to travel when I can afford it, just spent a few days in Vegas and am hoping to get back to Hawaii and New York later this year.

I read the Globe today and according to the Feds Al-Qaeda has plans to target Boston beaches. Can I sleep over?

Any time…

A few years ago - give or take - a couple of young and rather handsome hip hop enthusiasts put together what would be but another unremarkable bedroom composition left to anguish in oblivion. Muneshine was down by law; I was on the cut. Since then, that tall redheaded guy has been working damn hard, honing his production skills and quietly making a name for himself at home and abroad. This year, Muneshine made his “official debut” with a little collective of rappers known as Lightheaded and I managed to catch up with him, getting the lowdown on shift work, J.C. and the wheelings and dealings of an indie rap sensation in the making.

soso: What’s up with the crazy shift work?

Muneshine: Man… it sucks. I can tell you right now I’d die young if I this was it, but it’s just a summer job, so I’ll be ok.

Do tell…

Well I recently decided what I wanna do with my life. that’s where the story begins. haha. I applied to this dope audio engineering school down east, and was one of 68 people accepted. soon as I heard the good news I had to figure out how I was actually gonna afford to go. That’s when fate stepped in and dropped this wonderful job in front of me. It’s not that bad though, you just caught me in an “off week”… I’ve been working the 3am to 11:30am shift to prepare for some big wig who’s doing a “walk through”… and that’s that. It’s all good though, I get paid decently and am on track to saving what I’ll need for fall.

When I’m not there I’m trying to stay focused on new projects and hangin out with my lady and friends.

Did she type that?

Haha, nah, but she may read this.

So you’re leaving the sun of Saskatchewan for things out east… do think living here has influenced your music productions in any way?

Hmmm… I’d say it’s definitely influenced the way I process certain things, at least with my writing and day to day life sort of stuff, but with my producing I don’t really know… that’s a good question. I’d say the music I grew up listening to had more of an influence on how I produce than where I listened to it.

I definitely hear an east coast influence

Yeah… you know what I like. premier, pete rock, spinna… stuff like that. although recently I’ve been told I have a distinct “west coast” sound… who knows.

This topsy turvy world

You’ve recently enjoyed success with the Lightheaded album. How did you hook that up?

Yeah, my first official release. ummm… we basically hooked up when Braille heard some of my music online. he contacted me and wanted to build on something for a possible single or ep. it really just snowballed from there, and he recruited Ohmega Watts and Othello to take part. I sent them all the beats and they just went to town with them. then I flew down to Portland last summer and we all met and hit the studio for 4 solid days and nights of recording. it was dope.

How did Day By Day get involved?

Well Braille and Ohmega watts had done a song for one of their early releases. Braille stayed in touch with dj fisher (the head honcho) and when we got the Lightheaded stuff underway they made the plans to release it. it was pretty much official before we even started recording… it was dope of dj because he got on board just on the strength of Braille’s word and what he had heard of my music.

So this truly is the indie rap industry success story.. haha

What’s the deal with the whole Christian thing?

Haha… I was waiting for this to come up. You mind if I get deep with this?

Shoot… just keep in mind my bible verses are kinda rusty…

Oh Troy. Ok… here goes…

Yes, Lightheaded are “Christian emcees”, no, we don’t like that label but yes, we understand labels are everywhere in music and life. No, we aren’t all practicing our beliefs in the same way, but yes, we have all come together with the common denominator of musical taste to form the group.

Now… my real problem with this subject is the whole “conflict of interest” theory I’ve had thrown at me from all kinds of people. On one hand I can understand choosing not to listen to music that gives reference to the man upstairs because it goes against what you believe, but where does it end? What about music talking about guns, drugs, disrespect of women and basic negativity? Is listening to that a conflict of interest, or is that the grey area where entertainment lives?

It’s tough for me because I’m different from the rest of the group in respect to how I choose to live my life. I don’t go to church, and haven’t for years. This almost makes me an outsider to the whole situation.

The other thing that bothers me about this subject is that people have preconceived ideas of what “Christian” music is all about, and instinctively decide it’s not “cool”.

For instance, as grateful as I am for getting a review in a certain hip hop magazine out of the states, I was pissed when I read: “make no mistake, this is NOT Christian rap.” indeed it IS Christian rap. They are Christian emcees talking about their personal experience (what I believe any real emcee does or should do).

Anyway, that’s my take on “the whole Christian thing”… haha… I could keep going on this for days. This process has really opened my eyes.

Thinking about Christian music though, the whole genre is really massive and often, commercially successful… is it possible to play it both ways?

I hope so, I’d love to be popular enough to live off my music, but these guys aren’t trying to use their faith as a gimmick. the way I look at it, we just make good hip hop. if people love it, dope… they can support us, if not, they’re free to listen to something else.

Very diplomatic… so what’s on the horizon?

Lots. I just finished producing a petestrumentals kinda project, half compilation, half instrumentals… for this label in the UK called RAW WAX… I’m really excited to get it out. it’s my first solo project, and it’s especially a land mark release for me since it’s my first appearance on vinyl, every producers dream. so yeah, that’s coming out in July if everything goes as planned.

I also just finished producing a full album for a very dope young emcee from Rochester, NY called sycorax one. together we’re called “focus”, and we’re in the process of putting together the final mixes and getting the artwork together. We plan to shop it to a few indie labels this summer, and have no doubt it’ll be dropping by fall. (if dj fisher reads this, get at me fool… we have some business to discuss… haha).

Besides those two, I’m working on the still life movement album (me on the rhymes, my man dminor on the crooning vocals and mphazes (a DOPE producer from Australia) on the beats… it’s been on the back burner for the past couple months, but it’s coming together nicely.

Yeah… there’s a lot going on. On top of these projects I’ve been doing a lot of production for various emcees, signed, and otherwise.

Sounds like an exercise in time management… how do you fit it all in?

Well before I took on this wonderful summer job I was a “student”… haha… you know how it goes. Actually, no, you were one of those focused students weren’t you? anyway, for the past year I’ve had a lot of free time.

So how long have these projects been in production?

I put the instrumental project (muneshine presents… some place real) VERY quickly. I’m using a few instrumentals from tracks I’ve produced for various people, and some new stuff… so it just came together itself. The focus album was a bit of a longer process as we really put it together through the internet. We’ve been working on it since August or so.

The still life movement album’s been going since last summer.

It seems as though the typical route, particularly for independent producers, has been to start up a label and put stuff out. You’ve taken a different approach. What are your thoughts on this?

It’s funny you ask, because eventually I would like to be completely independent like that. At the same time, since I am an independent producer, and not really pursuing too much of a solo career, I don’t think I’d be able to make it a success yet. My goal right now is to get my name out there for my production work both with the Lightheaded, and my side projects… then once I develop enough of a fanbase to financially support my own independent plans I’ll put them into action. On top of that, I still have a lot to learn about the business side of the industry and how to set myself apart from the countless others trying to succeed (besides having my own sound, and following).

On another note, somewhat related I have formed a production company called wax reform, of 7 DOPE producers from around the world. We’re in the process of getting our website finished, and finalizing plans for world domination.

You mentioned earlier about the day by day connection. Could you talk a bit about your various label wheelings and dealings? like how you hooked up with the UK label, experiences signing contracts etc.

I’ve been really lucky with my label experiences so far. I haven’t had any sour deals or anything. I guess that’s how it goes when you start out. As far as my wheelings and dealings and how I’ve hooked them up… they’ve really come to me. I haven’t had to do anything but put my name at the bottom on the line and make the beats. haha.

The UK stuff came together a lot like Lightheaded… the A&R over there heard some of my Lightheaded stuff, and a couple other beats from a temporary mp3 page I have up. he contacted me asking my thoughts on a petestrumentals kinda project, and once we worked out the financial side of things it just came together.

I see things getting a little more complicated in the near future as I’m hoping to get involved with my homie apathy’s album for Atlantic records. He’s picked out a couple beats he’s really feeling, so who knows where that’s gonna go. Once I get to that bridge I’ll really be learning about profit sharing, publishing rights and all that. It should be interesting.

And sample clearance! I had to alter a Rodney Dangerfield sample once cuz the record plant wouldn’t press it… given your liberal sampling policy, have you had any problems with copyright?

Haha… Rodney’s dope.

Yeah, my production is obviously sample based, but no, I haven’t had any problems with that. We’re in the process of clearing the new Lightheaded stuff, and I know my stuff for apathy will definitely have to be cleared due to the major label status and exposure the tracks’ll get.

One thing I’ve learned is that if you aren’t crossing the 10,000 copies barrier, most plants will happily press your stuff… as long as it isn’t TOO obvious who you’re sampling. I’ve also been working a lot harder to dig deeper for my samples and really manipulate them to make them untraceable.

You had mentioned your wax reform project earlier, what can you tell me about that?

Ok. wax reform is a collective of producers. I’ve always wanted to put something like this together, and in the past 2 years I’ve met, and become friends with a perfect line-up of up and comers from all over. I initially put it together with dminor (of Los Angeles, the other member of still life movement) and Ohmega watts (one of the emcees in Lightheaded). Once the three of us established the foundation we really started branching out. We brought in Illmind (of New Jersey, who recently produced the lead single off Boston emcee, Akrobatik’s, new album (“remind my soul”)), mphazes (the producer of still life movement, from Australia), presto (of the Netherlands) and Dela (of France). We’ve also started expanding outside the production realm as well, as we’ve taken on Supastition (of north Carolina) to be the first official emcee of the crew.

And you’ll release material as a group?

Soon, yes. we plan to put together a compilation album next year once we’ve all become a little more established individually.

We’re all working on a lot of stuff right now.

Issues of control seem to rear up now and again with collaborations of any kind. What is your approach in these kinds of situations? Have you had any problems?

Not yet… but who knows what’ll happen. Right now we all seem to be on the same page with everything we’ve collaborated on, and it’s been smooth sailing. since dminor, Ohmega and I are the core of the crew, when it comes down to the compilation we’ll be making the final decisions, but there’s no kind of dictatorship going on… we’ve assembled this group because we love EVERYTHING we’ve heard from them, and everyone’s in it for the greater good. when it comes time to start putting product out there, we’re gonna handle everything as a label would, contracts and everything, to keep everyone happy.

word…

We’ve focused quite a bit on your production projects, but you emcee as well… Do you give priority to producing or mc-ing or dj-ing? Do you identify more with one aspect than another?

Yeah I love emceeing, but I think it’s obvious I’m a producer first and foremost. I started in hip hop as a dj, and still do it, but basically just to accompany my production, and for mixtapes and stuff like that. I’m working on a solo album on top of my emcee work with still life movement, but I think that may be where I call it quits. I think I’ll always write, just cuz I love to and it’s fun, but I honestly think it’s hard to put the necessary focus into 2 or 3 things like these without one or two of them suffering. I enjoy producing the most, and think it’s what I’m best at it, so it’s my first priority. besides that, I’m not good looking, or ugly enough to be a successful emcee, and I’ve been told I sound like kermit the frog. How does one recover from that? haha.

Haha
it ain’t easy being green

You said it.

Anything you’d like to add?

Ummm… just shouts to everyone listed above, everyone in Saskatoon, my homies the Demigodz, 9th wonder and Little Brother, Slopfunkdust, and everyone else gettin down on my solo… and shouts to soso and ugsmag for the interview, I’m flattered.

AND… everyone should go out and grab the Lightheaded - Pure Thoughts album, Supastition’s - 7 Years of Bad Luck album, that new Akrobatik, Illmind produced single “Remind My Soul”, and my new instrumental album droppin this summer “Muneshine Presents… Some Place Real.”…

PEACE.

The D.O.C. has been in the rap game since the mid-1980s, and is an undeniable pioneer, instrumental in the development of the genre. He penned rhymes for all of the N.W.A. records, both Chronics, and indispensable debuts from Eazy-E and Snoop. With his classic solo album, 1989’s No One Can Do It Better, The D.O.C. went from a mostly behind-the-scenes ghostwriter to an explosive emcee on the cusp of superstar status. Unfortunately, fate had different plans. Shortly after the release, a severe car wreck crushed his larynx, seemingly ending his shine on the mic for good. But he refused to give up. After over a decade of extreme ups and downs, The D.O.C. is back with a new record, his own label, and a crew of hungry emcees in tow.

The D.O.C.’s storied career begins in West Dallas, as a member of the Fila Fresh Crew (featured on the NWA And The Posse record). “It was just a kid that I grew up with in the projects and shit. His name was Kurtis, Fresh K. It all got started as just neighborhood shit, and then we got a gig to do a commercial on a local TV station down there. This DJ was in radio down there, he had a mix-show, and we all got together and formed a little group. And it turned out that this guy and Dr. Dre used to be in sort of a DJ group. The guy had just moved down from California, and Dre came to visit the guy, I guess DJ at one of his parties and shit, and that’s how we hooked up.”

It’s hard to describe in words the impact of The D.O.C.’s debut. Like Straight Outta Compton, it’s exceptionally funky production and intricate lyricism won fans on both coasts, but unlike Compton, it was more focused on quick-witted wordplay than graphic tales of inner-city strife. Dre’s beats and Doc’s rhymes seemed the perfect match, and hip-hop heads everywhere were going nuts to crowd-rocking tracks like “It’s Funky Enough” and “Mind Blowin’.” While he doesn’t listen to it much these days, the fact that his first album is considered a classic is not lost on The D.O.C., who always had high aspirations with his music. “When I first started rapping, I wanted to be the greatest, whatever the fuck that means. So I can understand how people could relate to that energy. And I was clean. A lot of these records today, guys make enemies because they talk so much shit about each other, well I never had to do that. I never had to cuss out bitches and none of that kinda shit you know. So I got respect on all levels.”

Following the accident, he continued to work with Dre, lending his invaluable writing skills to Niggaz4life. After seeing little money for his work with Ruthless, he followed The Doctor to Death Row, where he contributed rhymes for The Chronic and Doggystyle, and helped mentor a young Snoop Dogg. Though his voice was forever altered, The D.O.C. continued to make his mark in the game.

Unfortunately, shady accounting was not exclusive to Ruthless, and he soon grew weary of his low profile position and lack of royalties at Death Row. Depressed and disillusioned, he parted ways with Dre and went off on his own, still hoping to release a follow-up album. After unsuccessfully trying to get Eazy to back it, he released Heltah Skeltah on the obscure Giant label in early 1996. With limited promotion and Dre-less beats, it came and went with little fanfare. “The Heltah Skeltah record, that’s when I was lost, within the drugs and alcohol period. You can pretty much tell in the lyrics, it’s some gothic shit going on my mind with that record.”

Since then however, The D.O.C. has slowly but surely been making his way back to the top. He wrote songs for Dre’s 2001 album, started his own label Silverback Entertainment, and has been producing for several other artists, trying to put the oft-neglected local scene on the map. “I got huge plans for DFW!” he says with obvious enthusiasm. “The guys’ names are 6Two, Uptight, Cadillac Seville The Mack, and a guy named El Dorado. All these guys are from the Dallas/Fort Worth area.” He’s also been working with MC Breed, the Flint, Michigan O.G. best known for his classic single “Ain’t No Future In Yo’ Frontin’.” “I got huge plans for MC Breed! I’m gonna stick him right on my label. There’s a platinum record inside MC Breed, he just doesn’t know how to knock it out, see but I do. So maybe when I sign him he’ll let me produce the record.”

Right now, The D.O.C. is all about his new album, Deuce. With a deep line-up featuring a grip of Texas talent, old friends like Snoop and Nate Dogg, and production from himself, Organized Noize, Erotic D, Jazzy Pha, and others, Doc’s long-awaited comeback is finally here. Despite the years between releases, he remains extremely confident about the new material. “No rapper has ever made a classic record, lost his voice, and came back and made another classic record. You gotta love it.”

And if we’re lucky, there may even be a tour. “Man you know what, there’s a lot of D.O.C. fans out there that never got to see me do nothing. So if not just to see all those guys, I’ll be out there. I don’t have any plans as of yet but I got a feeling this record is gonna take off pretty fast, because it’s a great record and people want a great record from me so bad. This is gonna hit the spot, so I think it’ll be time to go out and perform fairly quickly. As a matter of fact, I’m thinking about incorporating into the show, just a couple of the No One Can Do It Better songs, you know, just even with the old shit, lip-synch the shit anyways. Everybody knows what the fuck I’m doing, they’d probably like to see me perform that old stuff.”

As for his label, look for a full-length from 6Two in the near future. “The 6Two record is about 70% done, and all those beats came from Dr. Dre. I stole em out of his trunk when I was up there.” Also on deck will be one more album from the man himself. “I’m gonna do one more record under D.O.C., one more D.O.C. record. And that record is what’s gonna separate me, from any other rapper, ever. This next record is what’s gonna make me the greatest of all time. And I’m gonna tell you some shit that’s gonna fuck you up. It’s gonna be nothing but gangsta niggas rapping on the record, and it’s gonna play like a gospel album. I mean its gonna fuck everybody head up, they’re not gonna believe it. And they’re not gonna be on no rapping love songs, they’re gonna be rapping gangsta shit. But there’s gonna be so much heart in what they say, its gonna play like a gospel.”

Despite a number of shady deals in the past, The D.O.C. holds no grudges. “I don’t have any animosity towards anyone. Suge, Dre, Eazy. Nobody that’s done me any wrong, because it wasn’t really their fault, they were doing what they do. It was my fault, because I wasn’t doing what I was supposed to be doing. I was slippin, in other words. So you know, you can’t blame these guys. If you play with a snake you can’t blame the snake for biting you, that’s what snakes do.” On Suge: “I wish the guy success. I saw him at the hip-hop summit in California, I shook his hand, told him it was good to see him free, and good luck you know. But without hit records Death Row is gonna be in trouble.”

A living embodiment of the old saying “what doesn’t kill you makes you stronger,” The D.O.C. is clearly poised to take over the industry. “I got a complete understanding of the entire game now, I’m like Tiger Woods right now, I’m chewing em up. It’s all about great songs, great music, that’s the bottom line. If you make great songs, then there’s nothing they can say about you, they’re only gonna go buy the record, and even if they hate you they’re gonna pretend to like you.” Despite the ever-changing nature of hip-hop in the 21st century, for The D.O.C., it all comes back to the music. “Music is the shit. And when the music is the shit, it’s gonna be there. I don’t give a fuck what kind of music it is. Rap music is no different from soul music, it’s no different from country music. So the people who like good music, when they get good rap music, they’re gonna stick to it. And that’s something that sticks with you forever.”

Deuce is out now on Silverback Records.