Big Smoke Magazine Issue 4 by Harry Adams

01-07

13/12/02

1:08 pm

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BIG SMOKE MAGAZINE ISSUE 4 WINTER 2003 SMOKING FINE

£3.00

1:09 pm

13/12/02

URBANDISTRIBUTION 01603 490 766

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13/12/02

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❘ ✒✜✂✮❚GGP✂L❈❋G Photo by Gil Reynolds

BIG SMOKE EDITORIAL D i r t y : It ain’t all gravy! People bombing people, oil spills - losing a pioneer like Jam Master Jay recently was a massive shock, everyone at the magazine sends their condolences to his fam and to his friends. In this latest issue Big Smoke started in South Clapham with Green Jade, before hitting Sheffield to link the Hoodz Underground cru…what’s happened to the steel at Sheffield Wednesday lately? Across to Cork, Ireland for the crack and for a Guinness or two, ask John! Talking of thirsts, we also have Thirstin’ Howl the spit boxer himself, in Brooklyn first class all the way by telephone conversation. Also via phone wires Vicious Circle designer Dario Sanchez in Las Vegas, and then back to Essex to check the talent and holla the Ironbridge massive. In the city smoke we hit the gym in Herne Hill with the cover artist Est’elle knocking us all out then bused it down to the Old Kent Road to speak to the Lotek Hi-Fi man, went East for some production tips from Funky DL, then dropped in on the Whitechapel master Lewis Parker and the talented drifter Jehst, before finishing with a pint with the Big Dada himself Will Ashon in Kennington, folks. Some of the Big Smoke staff wanted a 40% pay-rise, which I thought about, but instead offered a good deal for a quarter of a green goddess. It’s a fair solution in the current climate. Trust. What happened to Big Smoke and half the scene not being invited to the UK Hip-Hop Awards? I’m not saying that we shouldn’t have them, but being a magazine supporting the hip-hop scene in this country, that shit don’t figure!? What you saying Peter? Pete Real: Round 4, and once again we have perfect time-keeping. Yeah, yeah... sorry this issue is a bit later than expected, but you know how it goes when you are putting

together a product that is head and shoulders above all the competition. We would rather you had to wait a bit and give you something of this quality, so keep collecting and keeping each issue, because the first issues are already becoming sought after items. I hope you have as much enjoyment reading this as I did doing the interviews. I go back with Est’elle, DJ MK and Funky DL, so not only was it work, it was great to catch up with all of them, as it’s not often enough that I see them all. Unfortunately Skinnyman couldn’t be with us for this issue to carry out his duties as the Agony Uncle, as the authorities who kindly provided my man with his own room forgot to give him a key. Keep your head up bruv while your audience awaits you. A BIG UP to past Big Smoke cover artist Blak Twang a.k.a. Tony Rotton for achieving Radio 1 daytime airplay. Good to hear you getting the recognition you deserve. I would like to say a special thankyou to Gil and everyone involved in the Est’elle photo shoot. I’m sure Est’elle will agree with me that everyone acted professionally and enthusiastically considering it was a ‘freebie’. I owe you all a big one (OOH MATRON!), and hope we can all work together again on future projects. Well, as per usual, much love to everyone involved, especially The Big Dirtdog Dirty Harry, The Big Dirtstyle Mr. Grammar, The Big Dirtdesigner Big Jon Bailey, all The Big Dirtributers, The Big Dirtographers, The Big Dirtustrationers, and all the Big Dirty Artists who appear within the pages of The Big Dirty Smoke. But where would we all be without The Big Dirtyoulot? Keep supporting and keep enjoying, we’re planning the next issue already, I promise! I would like to dedicate this issue to my old friend Do’reen, who recently died in tragic circumstances. You were a beautiful individual and I miss you. I still have all the memories.

WORDS FROM DIRTY HARRY & PETE REAL

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Grammarphone.

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Smoke Alarm: News

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Mao Mao.

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New Mic Order: Ironbridge.

◗

Green Jade: The Saga Continues.

Dario Sanchez: Design 4 Life.

The Emerald Style: Hip-Hop in Ireland.

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Jehst & Lewis Parker: Anti-Hero Antics.

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Out Da Smoke: Hoodz Underground.

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The Big Joke: feat. Mystro, Disorda, PQ, Cipher Jewels, Scor-zay-zee & Eastborn.

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Burner’s Place: In association with Hold No Hostage.

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Est’elle: First Round Knockout.

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Funky DL: Soul Trader.

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Big Dada Records.

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Lotek Hi-Fi.

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The Mixtape.

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DJ MK. On the 1+2’s.

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Thirstin Howl III & Rack-Lo: Brooklyn Hard Rocks

Reviews: 12”s, EPs, LPs Mixtapes by Disorda

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Events.

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Back Issues, Shout-Outs.

BIGSMOKELIVE.COM

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BIG SMOKE MAGAZINE EDITOR AT LARGE: Dirty Harry Mobile: + 44 (0)7855 552339 email: dirtyharry@bigsmokelive.com DEPUTY EDITOR: Mr. Grammar Mob: + 44 (0)7866 160042 email: grammar@bigsmokelive.com FEATURES EDITOR: Pete Real Tel: + 44 (0)1702 478229 email: petereal@bigsmokelive.com DESIGN EDITORS: Jon Bailey - Ruben Co Co email: bai@bigsmokelive.com BIG SMOKE SALES & ADVERTISING: email: sales@bigsmokelive.com BIG SMOKE DESIGN: Dirty Harry, Grammar, Jon Bailey, Ruben Co Co, Hold No Hostage Magazine. BIG SMOKE PHOTOGRAPHERS Gil Reynolds email: gilreynolds@hotmail.com Jake Green EMAIL jake.green@ntlworld.com CONTRIBUTORS PHOTOGRAPHERS: Julie Walmsley, email: ju-c@fcuk-me.co.uk Josh Cole Web: www.wideangle.org.uk Mr Ernest @ 07930945545 BIG SMOKE ILLUSTRATION: Dharma: +44 (0) 7990 586945. Dharma_one@hotmail.com Elliot Thoburn, Antony Parnell. BIG SMOKE CONTRIBUTORS: Dom Allen, Lokation Clothing, Christopher Tracy, Oxygym Herne Hill, Paul Blokey, Bandit (M.S.I.), Jake Green, Ayaz, Disorda (Suspect Packages), Mr Wiz (Krispy) Jimmy Plates, Dave Paget, Dr Greenstick, Mr V, DJ Moneyshot, Dave the Ruf Andy Aberration, Nemo, Luke Biggins,Kobi, Ryan Proctor, Dom Weir & Ollie. PUBLISHED BY

BIG SMOKE PROJECTS LTD 2003 c BIG SMOKE MAGAZINE PO BOX 1002 - CROYDON CR9 2UF - UNITED KINGDON Distributed By W.W.M.D. Cargo & D.A. Industries Printed by www.pensord.co.uk THIS PUBLICATION MAY NOT BE REPRODUCED OR TRANSMITTED IN ANY FORM, IN WHOLE OR IN PART, WITHOUT THE EXPRESS WRITTEN PERMISSION OF THE PUBLISHERS.

GRAMMARPHONE A

nd it goes a little something like this… patience is a virtue, and for those of who are regular readers thankyou for yours – we know this last one’s been a long time coming, apologies for the delay, normal service will now resume. As far as 12”s go you lot are really spoilt for choice at the moment – pick of the bunch includes ‘Killer Apps’ by Gamma, (featuring a host of Dada representatives and with a killer video to match), the return of the blinding LG & Lopez with ‘Rocket Fuel’, with Jehst and new comer Skriblah on mic duties, and former Champion Of Nature Apollo with his debut solo 12”, ‘Think’. Also worth checking out are singles by Ricochet Klashnekoff, Tommy Evans ft. Yungun, PQ, C-Mone (out soon), Thee Absent, Herbaliser ft. Blade & Phi-Life, Natty & Dwella ft. Skinnyman & Mr. Thing, Verb T, Harry Love & Chester P (the nice double-header of ‘Showbitchness’ and ‘Wiccaman Theory’, both taken from the forthcoming Low Life Records compilation ‘Food’), the wicked Infinite Livez on Blufoot’s ‘Hazardous Material’ and on ‘Emcemee’ on Big Dada, and lastly, if you can find it, the musical event that is the new MC Pitman track, ‘Its takes two’ – buy on sight, this is pure comedy and continues the fine standard set by the killer ‘Witness The Pitness’ New from SFDB Records and featuring the legendary Lil Angry Man, the Beefeaters EP entitled ‘Can Of Worms’ is one of the funniest records I’ve heard for time - well worth a shout, I wish the trio success in the future. Other four-trackers out now include the debut EP from Brighton collective Lost Souls (big up yerself Ewan), as well as Out Da Ville (the essential ‘Notts Property’), the mighty ‘Chosen Few’ from Phi-Life Cypher & Taskforce, the decidedly militant self-titled Mud Family EP and the just plain heavy ‘Bussin’ True’ EP from Keith Lawrence, featuring the likes of Ty, Bries, and the Extremists. Choice. One of the busiest and most productive periods for albums our little sub-culture has seen recently, with full-length releases from Jehst, Jeep Beat Collective ‘Return To The Classics’, Daddy Jaes, HKB Finn, Breakin’ Bread, Big Dada, Moorish Delta 7, Diversion Tactics, Eastborn, Cyrus and Delegates Of Culture with special guests on the underground monster ‘Headcleaners 2’, another triumph for the Cambridge

collective. Also on the way early in 2003 are LPs from Rodney P (we hope), Doyen-D, and Lotek Hi-Fi (see p27), as well as the imminent debut from Est’elle (p22) Album of the minute for me however goes to Lewis Parker for the mammoth ‘It’s All Happening Now’, find a better hip-hop album this year and I’ll be fucking surprised – check him and Jehst out on p15. There are also demo albums and album samplers floating around at the moment from Tomo (heavyweight) and DJ First Rate (heavyweight in several ways), and Poisonous Poets (look out for the album coming soon) - if located feel free to secure by any means necessary, up to and including physical violence. For the freshest selection of UK and US joints be sure to check out Big Smoke Projects and Ironbridge’s DJ Pager, more specifically his new mixtape and CD ‘Evolution 33 1/3 Vol. 2’. As usual check out p36 for full release listings. Out and about, the same nights seem to be cropping up in people’s recommendations – Kung Fu in Camden, Rawganics in Cambridge and Dekefex at the Mass in Brixton – so I thoroughly recommend that you get your ass down there if you haven’t already. If it’s still on by the time you read this check out the exhibition ‘They Made Me Do It’, some incredible graf by a range of talented writers, all based on the dark new sci-fi flick ‘Donnie Darko’. Other than that I urge you to check out every record store, corner store and superstore you can for tunes; the expansion is visible day-to-day within our scene right now, with more product being released independently than ever and many established artists finally in talks with or getting noticed by major labels. Watch out for Mr Chester.P of Taskforce he is running for Mayor, for more info hit chestapformayor@easy.com. 2003 is here man, the last great deadline is past us and the sky’s the limit… To the Little Miss who seems intent on starting a war with us – believe me when I say that we’ve had your number since day one, and there’s nothing you can do or say that will surprise us. I ain’t gonna waste any more column inches on you. Lastly, and on a more positive note special shout-outs to Bobby G for maintaining under difficult circumstances (where u at B?), Dharma (chin up amigo), and my girlfriend for putting up with me during these stressful days and times. Peace Grammar

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13/12/02

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SMOKE ALARM BANDIT’S GOT NEWS

FOR YOU So the question beckons... what the living daylights is going on in the wonderful world of British urban music? Lucky thing Ms. Dynamite has blown the fuck up or her moniker would have been redundant... ennit? So Solid is a house-hold name (say what you want!!), Blak Twang ain't doing too bad, I heard his single blasting on daytime radio up in Brum, Rodney P & Skitz are everywhere (keep it going Dons!! ) and Big Brovas on SMTV? What the Wuthering Heights is going on? The simultaneity of all these artists and others doing well is unheard of, but so is a leprechaun from Lichtenstein unless you know one. Is British urban music really going places now or is it an industry wind-up? Are they teasing us or do we really have long-standing hip-hop initiates who have inadvertently or cleverly blagged their way into positions of influence and power... I don't know, but things are moving in the right direction for sure. Mans have gone from hitch-hiking to doing seventy in the middle lane on cruise control. Well done everyone. The Letter to Tony Blair campaign is awaiting parliament to re-sit. As I mentioned previously it went in for the EDM (early day motion), which is basically all the parliamentarians mulling over the paperwork and deciding whether or not they want lowlifes like myself playlisted. This is the mundane aspect of the campaign, no glitz and glamour nor media coverage just plugging away behind the scenes to make this world a better and beautiful place. Unfortunately, MSI & Asylum is still recording/mixing but fortunately the album is absolutely banging and of course that's a biased opinion so shut it!! You should be hearing from us early next year with a touch of sonically and visually different ideas. All enquiries about the campaign or MSI can be directed to; bandit@grankru.freeserve.co.uk. Keep watching this space. People, people, people!!! Am I the only one who thinks the capture of the alleged Washington sniper and his son is the FBI's blundering attempt to wrap up this incredibly elusive investigation under public and media pressure? I hope they've got the right geeza for the sake of the local residents of Washington. In light of that it's possible the real sniper might (now that they have a red herring) pop up a few years later in Washington or another city to cause mayhem again. There's one thing I know for sure though, the residents of Bognor Regis is as safe as houses. Tell you what sit, down for a minute, dim the the lights, pour yourself some hard liquor, blaze up a fat spliff and chew on this for a moment or two...' How is it possible for a less technologically advanced FBI force to apprehend Lee Harvey Oswald (JFK sniper) in such a short period of time (days wasn't it?) and modern day FBI buffoons weren't able to do the same?' "Where are you going with this Bandit?" you may ask, my little blunted drugged up to the eyeballs conspiracy enthusiasts, well my point is I don't believe Oswald was the real sniper and this has a direct bearing on the Washington sniper continuing his spree or - let me reiterate - laying quiet and popping up, again somewhere other than Bognor Regis.... there it is. Asalami bacon sandwich my brothas, I'm out. Bandit GranKru Records, MSI & Asylum

❘G❚❖❈PGP✂❖❈❚MG❚

❏G❚❉❈N❑G Tired of seeing dweebs walking around with everything from baseball caps to hoodies sporting ganja leaves? Well, I've always said if a point's worth making it's worth making properly, and now you can with wares from THTC; a clothing company with a definite head for politics, they utilise the many and varied advantages of organic hemp over cotton in their garms, and are intent on raising awareness of the many controversial issues surrounding the use of the plant in society (hemp is three times stronger than cotton, hemp paper can be recycled for ten times longer than tree-pulp paper, and requires no pesticides or pollutants to grow. For example). As their manifesto states; "THTC aims to divest hemp of its hippie image and, as environmental and ethical awareness reaches intends to be at the forefront of Taskforce the ‘Life mainstream, Without Instructions’. driving hemp into the realm of credible urban streetswear." The clothes themselves are top-quality fare, and are all manufactured from 55% organic hemp - a percentage that THTC are hoping to increase as and when their profits make it possible. After some serious networking with various companies, suppliers and artists (including Skitz & Rodney P, Taskforce and the Mixologists), expect to see this impressive new organisation cropping up more and more in the near future. For more info, to purchase some phat garments or just to support the cause, visit www.thtc.co.uk and educate yourself in the ways of the herb…. Grammar

Hard though it is to imagine, the one-and-a-half issues of Big Smoke a year just aren’t enough to keep some people happy, they want more like the Roots said. We’re always happy to promote fellow indie ventures as they join the ranks of hip-hop informants in this country, and one such newcomer is the excellent ‘Indelible’ video magazine from Pro-Duck productions. The first issue should be in shops as you read this, featuring interviews with Braintax, Phi-Life Cypher, Plus One, Souls Of Mischief, Temper and more. Available on both DVD and VHS, this looks like it’s gonna be a quality addition to the scene, and an innovative one at that – props due, guys. ‘Indelible’ is available at www.suspect-packages.com and selected shops. Grammar

DVD and video seems to be the new format of choice for UK entrepreneurs, perhaps us old-fashioned magazine types are in danger of becoming redundant! Latest in a rapidly-expanding group of audio-visual documents of what’s hip and happening is the tentatively-titled ‘Hip-Hop:The Collection’ from Classis Pictures. On it you’ll find footage of studio sessions with many UK hustlers (Taskforce, Killa Kela with Normski of all people, Karl Hinds, the Mixologists and Fredi Kruga), as well as various other visual elements, all supplemented with some fresh compositions from both sides of the pond. Bundled in with this little gem you will also find a bonus CD of bumpin’ tracks for all your head-nod needs, including cuts from Rodney P, Braintax & Jehst, Roots Manuva, DJ Vadim, Quakes, Wu-Tang, LA the Darkman, Public Enemy and more. Another nice addition to your bookshelf, pick it up for around for £15.99, ya heard? Grammar

rawdocuments@hotmail.com dnrfilms@hotmail.com farrah 07930 526 886 marcus 07968 966 265

Raw Documents rawdocuments@hotmail.com dnrfilms@hotmail.com farrah 07930 526 886 marcus 07968 966 265 T.H.T.C

www.thtc.co.uk

Win a Big Smoke T-Shirt and a box of treats by answering the following question; Q. Which MC was on the front cover of the promo issue of Big Smoke? Send your answers to; BS T-SHIRT COMPETITION Big Smoke Magazine PO Box 1002 Croydon London CR0 2UF.

Like to get your paws on a copy of Snoop Dogg’s ‘Doggystyle’ adult DVD? Simply tell us; Q: On which track did Snoop make his first ever appearance on wax? Due to the adult nature of the DVD all entrants must be 18 years or over (believe me!)

Return to Earth Kata Hajime Productions

Through the eyes of the unseen DNR films presents ‘Raw Documents’, a feature-length film based on the UK's finest hip-hop practitioners...

A Wireless Nation: www.mediaaccesstrust.org.uk

COMPETITIONS

❋GG❘ ❊◗P❊GP❚❈❑◗P ❚❈✂❋◗❊❖GP

Smoke Alarm: Words by Grammar, Blokey & Bandit.

This is the debut from new UK company Kata Hajime productions, a well put-together film which follows a lone warrior called Pakwa, who has been dishonoured in battle, and so goes to the forest to take his own life. The fight scenes are good, the effects are pretty tasty plus the score for the film is done by up-and-coming UK act Concentration Camp. There's also shedloads of extras in the vid, including three teaser trailers, two full trailers, outtakes, a documentary - 'Behind the Mask', and inside the Concentration Camp... put your support into British film-makers and check it out. Blokey

Send your answers to; SNOOP DVD COMPETITION Big Smoke Magazine PO Box 1002 Croydon CR0 2UF.

We also have copies of Out Da Ville’s heavy new EP’Notts Property’to give away. We’d like to know; Q: On which track did Snoop make his first ever appearance on wax? Send your answers to; OUTDAVILLE COMPETITION Big Smoke Magazine PO Box 1002 Croydon CR0 2UF

BIGSMOKELIVE.COM

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BIGSMOKELIVE.COM

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MA0

01-07

he days Friday 16th August 2002 and i set off on my next mission to track down the infamous Mao Mao in the heart of the west country. The reason: to check out his exhibition and to party. my list of requirements included a tent, waterproofs and a large bag of medicine, oh, and of course nuff alcohol. after 6 hours and a pub stop we arrive and proceed up the driveway, this turns out to be longer than the full version of rappers delight; after twists and turns, winds and ditches we spot the venue; buckingham palace (tapley manor) well it might as well of been. Dreads either a well connected man or the don dadda blagga! I drop anchor, fix myself up and go check the 1st set up; an outside courtyard for all the d & b heads and the 2nd; a barn fully equipped with traditional african food and one heavy Mao Mao exhibition. This comprised of some cutting edge shit including the road block design, Lee Scratch Perry and whole leap more (heavy) by now the parties in full effect and the line up’s phat; Rodney P, Skitz, Natty and Dwella, Money and the Tech, haze and sticks to name a few. Heads had come from far and wide Kent, London, Birmingham, Bristol, all sides and they’re up for it. The next day hungover and recovering I took the opportunity to catch up with Mao Mao and ask him some questions. B S : What are yor influences? I’m influenced by a lot of people who I work with, but as in graffiti, at festivals meeting all the other writers and just seeing the different styles. That’s always good and always inspirational. I’m more so influenced by the comics that i read such as? all sorts of different comics, I can spend hours in a comic shop (laughs) is that your

vice? yeh I love comics, I love graphic novels as well, I love all that, I mean I love visual candy, do you know what I mean (yes! incredible bush man). BS: a lot of your work is based upon city life crossed with country life. how would youdescribe it?

that was a scene I was already involved with, being into graff as well. so it was kind of a natural progression. BS: you have just recently completed some animation who was this for? Herbaliser, Rodney P and also for Skitz.

Yeh i’d say my work reflects that, because it reflects my own thoughts, it is as well about the constant struggle between nature and technology, you know, how like slowly the countryside is getting polluted and mashed up by the concrete babylon system. BS: how did you become involved with designing clothes and setting up sewerside? I got involved in clothes because I went surfing, yet again there were problems because my beach has got a great big sewerpipe going through it, which is pumping out raw sewage. Its a lovely beach and theres some good breaks, so i started getting involved with a charity, surfers against sewage down in cornwall and doing t shirt designs for them. I did some designs that I thought were good, but they didn’t want to use because they were a bit to strong, one said eat shit and die! (laughs), they were a bit like, this is a charity mate! we’ve got granny’s in it, I don’t think they will be buying that, so I thought I’d print them myself and they all sold, that was how sewerside was born really. BS: you designed the skitz cover-how did this come about? Skitz is a countryman as well. He’s from devon so we’ve known each other a long time, It’s like a family ting. Also you know both of us have a big love for hip hop, so the vibe was right really, it was a big break for me, because, like you say, being down in the country, Skitz moved to london, made links did a lot of networking, got busy, and me I stayed in the country and chilled in the country, so it was good, through that I got introduced to a lot of people that obviously work in the hip hop scene.

vibes that I’m about. also i’ve been doing mad things like graffiti workshops with kids and stuff like that, which has been really fun. BS: have you spotted any new talent? Theres always new talent, I get inspired by childrens artwork quite a lot.

BS: how did that come about and was it a proper mission? That was a proper mission because to be honest with you, before domestic science I had never done any animation, apart from the sewerside web site. but yeh, it was hard, I didn’t really know what I was doing. I drew it all straight into the computer layer by layer and had stupidly tight deadlines, ended up like working day and night and not sleeping or nothing. BS: how did you come to work with herbaliser? I suppose it came out of the work i done for Skitz and Rodney P, really. It sort of seems like that, cause I haven’t got an agent or anything, so I sort of roll around from job to job, I’ve got a friend who does press for them, he got me in touch with them and it sort of came from their really, it’s good. I don’t know what to say about it, it was a hardcore mission , I’d only really done Skitz and Rodney’s animation and that was mixed with action. where as Herbalizer’s was a whole video of annimation, which in some ways was easier because you had like time to do a story. In other ways it was a hell of a lot of drawings and a lot of work to do, especially as I was learning as I went along.

BS: you have just recently painted the front of some ones house? Yeh, a listed building (laughs) we got into a lot of trouble about that (more laughs)so it had the effect, certainly all the local papers liked it. BS: have you done exhibitions before? It’s something I’d like to get into, I kinda like doing all sorts, for instance the animation. I fell into that because everyone was like these characters are great, they’d be really good if you could bring them to life so I was like, yeh, that would be good, i’m gunna try that. BS: so theirs no barriers- your willing to experiment? Yes, and this exhibition thing is new, so I’m quite excited about it. You can catch the Mao Mao exhibition in Scotland@the CCA in Glasgow from the 12th December onwards, for more info contact dredi@btopenworld.com.

B S : Whats been your best project?

Big up. joe, asha, phife & lou.one love…………

Countryman was a good project, obviously cause that was with Joe, but, I’ve had a loads of good projects recently, working with Rodney’s really good, I’ve done a few little reggae projects, which is good, cause thats the

DR GREENSTICK

08-13

10/12/02

7:49 pm

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s we all head down the road called "life" each of us have gotten there from different roads. Experiences, pain, inspirations have all played a part in where we are today. Just stop for a moment and look back, most of us had a defining moment which placed us on this road. Mine came after my last lockdown, I went back to school for a different approach, there I met a teacher who whispered to me one day "you have talent in photography", no one had said that to me before and I ran with it. I asked thirty-six people involved in hip-hop music if they would share their defining moments in their lives with us. The response was both sincere and real, it reminded me of my moment. Rodney P with the record "The Message", Big Trev with his studio insurance so business could run, C-mone's skateboard she used to get noticed by the Out Da Ville crew, Skinnyman and his son Jerrel, Skeme was gonna let go of his dream until he heard Jay-Z's CD and got back on da bus. The list and the stories go on - next time you see them ask them the stories behind the pictures. Be inspired, as you can see we are not that different from each other, except everyone here made a choice. Shootin Star from the Extremists sums it up with his inspiration, a simple statement from Rev. Martin Luther King. To everyone involved NUFF RESPECT, and for really keepin' it REAL. PEACE, Gil Reynolds. Status: still on da bus till my next stop.

01 Blak Twang - YELLOWMAN record. 02 Roots Manuva - Hands. 03 Skeme - JAY-Z c.d.

04: Big Trev (Outdaville) - STUDIO INSURANCE 05: Shootin Star (Extremists) - M.L.K jnr.

06: Charlie Parker (57 Dynasty) - SAX. 07: Rodney P "THE MESSAGE" - record. 08: C-mone (Outdaville) SKATEBOARD

09: Skinnyman (Mud Fam) - son JERRELL 10: Dark Troopa (57dynasty) - 1st MIC. 11: Kidco (Tribel) - TATTOOS (R.I.P)

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IRON BRIDGE W

hen you've been into hip-hop for many, many moons you hear crews come out with a so-called 'fresh style' that they nicked from the USA; it gets a bit boring and stale. Then you'll hear a crew pop up from nowhere and totally blow you away… that's Iron Bridge. The speed that comes from the mouth of Jibbarish makes those other fast-tongue rappers sound like Too $hort, and with Dirty Verbals’ cheeky chirpy chappy style they prove that although there's plenty of British bulldogs still out there not many have teeth!

Let's start off with a Smash Hits question; who are Iron Bridge?? Well really Iron Bridge is just me (Jibbarish) and Dirty Verbals.

Ironbridge: Interviewed by Blokey Words by Blokey Photos by Gil Reynolds

this was about '92... so I'm still stuck in 1994, there's not much coming out that's impressing me, I cant stand any jiggy shit! Have you had any other producers wanting to work you since the first EP?

Not DJ Pager? No, Pager was the producer on the first EP but now he's doing his own thing, he's working on a new EP. Are you on that? Yeah us, Tekneek and Ity from Ill Psychosis and I think another group from somewhere else, so it should be good! People seem shocked that there's hip-hop coming out from Essex - it's only like 30 miles away from London, but the talent seems more raw and undiluted. Why do you think that is? Because there's loads of rappers in Essex, but they're too scared to face the outer world... and they're lazy! To me rapping is like a 24-hour hobby, but to them it's more a weekend thing. Who outside of the UK do look up to and maybe like to work with? Loads - Chino XL, Tonedeff, Tech N9ne and Thirstin Howl, some beats from Necro would be nice,

Evil Ed wanted to do some stuff, I done the posse cut for Doyen's album and a few underground MCs and beat makers have contacted me. But I'll work with most people. What about the tracks you recorded with Ill Psychosis - will they ever see the light of day? Yeah, I'm putting together a compilation so some of tracks will go on there, but the rest of them are just sitting there getting dusty. There's a lot of humour in Essex hip-hop, do you think that's the way forward? Well I love my dark hip-hop, but when you get someone rapping about beating someone with a bat I just can’t l isten to it - most people can beat someone up with a bat, it doesn't make you superhuman. I like sick humour, black comedy. Who else is there in Essex crew-wise? DJ Pager, Ill Psychosis, Ron Compost, Gambit, Headzache, Ill-son, Terror (done the beat for Taskforce's 'Jellyfish Kiss'), Charlie Brown, DJ Bai, the list goes on.... there's loads of heads not getting their fingers out!

Wasn't you in contact with him about some beats? Yeah but he turned out to be a faggot!! (laughter aplenty) He acts hardcore but he designs websites! Do you still respect him as an artist? Yeah I still would like to work with him. The other thing about rappers from Essex, I think freestyle-wise they're untouchable, because they're proper hungry for it. Verbals could make anyone look silly on stage. You're still quiet young (22), but I've noticed that you know a lot about the old days of hip-hop, whereas a lot of the rappers today got into rapping because of Tupac and Biggie and act like they're the dons - when did you get into it? Well my sister use to listen to it and I got into it because of her, and then my cousin gave me a load of records,

Iron Bridge ‘U Can’t Do It!’ EP Out Now

If you're from Essex and into hip-hop get in touch with Blokey at bigph@tblokey.fsnet.co.uk BIGSMOKELIVE.COM

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significant thing for us was seeing the way Matthew changed, because he was the biggest weed-smoker of all of us. But over the process of time, instead of coming down with a big bag of weed he'd come with a Bible."

Enter Green Jade - Judah, Wei, Wizdom, 3rdSon and Logikal. Standing five-strong their faith, both in Christianity and hip-hop, seems unshakeable. With the recording this year of their debut album 'Chronicles' they finally cemented a ten-year legacy that has taken all of them on a physical, spiritual and musical journey, a journey that was recognised with the inaugural award for Best Gospel Act at the 2001 UKHip-HopAwards.

After an organised sermon from a local vicar in the very room in which they'd spent so many hours consuming copious amounts of weed, a change started to take hold ("I’m telling you, we didn’t realise it, but it had an effect"). His words combined with the inspiration of their born-again homeboy ("his life just totally transformed in front of our eyes!") started a process that saw them all find God over the next two years. But while their faith is strongly represented in their music they are certainly no straight-laced bible-bashers, and producer Wei is quick to point out the negative associations with the word 'religion'; “If somebody’s religious they’ve got a connotation that they’re either bible-bashers or they’re people who have yet to hear anyone else, but just think that they’re right all the time. I think one of the things we always try to stress and make people realise is that we are people who have developed a relationship with God." Any thoughts of blinkered stereotypes are further dispelled as Judah breaks down the problems of a religion formed of many factions; " It’s very difficult out there at the moment, because people are getting all these different types of messages from different people, you know from Mormon right through to Jehovah’s witnesses, through to the K.K.K.! Who say they’re Christians! Who are burnin’ black man in the name of the Lord!! (laughs) It’s madness! But that’s why it’s important for people to know God for themselves, it really is."

The future looks rosy for the South London microphone ministers, but to fully appreciate the Green Jade saga it's the past that holds the key. Eight years ago they were just another crew - writing rhymes, bunnin' weed on weekends and facing the same situations any group of headstrong young men in the city faces on a daily basis. But as Judah explains, it was those very situations that started a chain of events that would totally change their lives; "One of the guys that used to hang out with us, Matthew, he was going through a lot of problems - there were some brothers from Balham looking to chop him up, run him down. He met a girl at his workplace, and she started inviting him to church. I think the most

With their album on the shelves at long last, Green Jade as recorded artists have now entered the world of the mass media. But religion and the media are often a volatile mix, something that they are only too aware of. With apparent frustration, Wei criticises the negative stance that's often taken; "you don’t ever actually hear the fact that, you’ve got five brothers here for example, and each one could have been a rapist, a murderer, an offender and that, and now they’re changed. That’s not something you’ll see in the newspapers, know what I mean? News and documentaries, they only give one side of the story..." The conversation gets round to another type of Christian who embraces the

THE SAGA CONTINUES

GREEN JADE

eligion. Funny how one word can inspire so much negative feeling in people. Mistrust, contempt, fear, even hatred. Some of you reading may be feeling these things right now just 'cos I've brought up the subject. Mention the word 'hip-hop' to many people and the same feelings are apparent. Seems like you can't tell anyone a thing about either these days, and while there are any people who can and will argue 'til their blue in the face about both religion and hip-hop, there are few that would say that combining the two could be pulled off with any credibility. Well, forget what you know people because a new voice has just joined the argument, one with such clarity and confidence that, whatever your opinion, you might just be forced to stop and listen...

power of the mass media, the televangelist ('you too can save your immortal soul by sending $39.95 now!'). After some deep thought, Wei states " I think that comes back down to the point I was making about ‘religious’, in the respect that there are so many umbrellas, and... that stuff is frightening to me. Because I’m a Christian, and because of some type of views that people who are not get themselves onto programmes, and how they’re made to look. To me the sad thing about that is that it just gives out the picture that.. this is just talking about movies, man." Wizdom continues on a more positive note; "There’s good and bad in everything,

“But over the process of time, instead of coming down with a big bag of weed he'd come with a Bible.” and sometimes it can be very difficult to make the distinction… the good ones are trying to empower people, which is what people need right now, 'cos some of the people are demoralised in many aspects of life, and if people are doin’ that then that’s a good thing." As Judah adds, "That’s the difficulty, ‘cos I’ve done a little bit of study of the history of the church, and some of the stuff makes you... it does put people off, when you think about some of the things that have been done in the name of Christianity." It is with this kind of perspective and positive outlook that Green Jade execute all that they do, and the results speak for themselves. As well as a ten-year history, an undeniably bangin' album, an award and more live shows than you can shake a mic-stand at, they also use their seemingly endless enthusiasm to provide opportunities to many other artists. Promoting nights under the name 'Re:Birth' Wizdom and Logikal have hosted some of the most positive jams to be found in the big bad smoke, and are looking to expand to Birmingham and onward. And with his occasional'Musicians' Ministry Network' forums, Judah provides other artists with an opportunity to discuss the ins and outs of the music industry, share contacts and resources, and generally indulge in the sort of networking that leads to people realising dreams. They're also looking to the future with the establishment of an entire army of artists in the shape of their rapidly developing foundation 'Zionnoiz', and as if all that wasn't

Greenjade: Interviewed by Grammar & Dirty Harry. Words by Grammar Photos by Gil Reynolds www.greenjade.co.uk

enough, most of them hold day-jobs that are by and large based on helping people with their problems. Pretty sickening, eh? Seems like these boys can do no wrong at the moment, and once you meet them there's no way you can hold it against them - their combination of profound thought and manic enthusiasm is infectious to say the least, both in person and on record. Are any of those feelings from earlier about that word 'religion' still hanging around? For anyone still doubting the potential phatness of so-called 'holy' hip-hop, I'll give the last word to 3rdSon; "If I’m out there saying that the way to live is to get your bling, I’m preaching that. We’re just preaching a different message to what other heads are preaching, simple as that." Grammar Chronicles: The Story So Far’ & ‘Merrily’ 12” Out Now

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DARIO SANCHEZ DESIGN4LIFE BS: What made you set up your own company and move to Las Vegas?

ell I left school after my A-Levels and went straight into a job as a Junior GraphicDesigner at a firm in South London, they had the licenses to merchandise for certain franchises such as the Batman movie and Teenage Mutant Ninja Turtles. I spent about three months designing badges, posters and any type of product you can imagine putting a licensed image on, and working under an artistic director who was a tailor and had no practical design experience in graphics. That, and the fact that the company made half a million in sales in the first two months, made me start thinking I should be running my own company not making a measly wage. The reason I moved to Las Vegas was simple, I met my wife, and she’s from out here so I moved! BS: What inspires you in your design work? I get inspiration from a lot different areas. Music, books, movies, friends. Sometimes I will hear or see something that sparks an idea and I will use it later in a piece without even realizing it. I was a huge comic book fan growing up, got a massive collection so that was the main influence on me as I came up. My illustrative style is a combo of Marvel/DC/200AD and a dose of Manga thrown in, but also with the sensibilities of the classic painters like Da Vinci or Rembrandt. Not that I am in their league but they were inspirational in their work and it affects what you do and the way you do things. To be honest, BAD artwork is also inspiring. Sounds funny but if you see a really poor piece of work on a cover or advert or something, it can spur you on. It gives you a sense of your own talent and a belief that you know you can do better than that, nothing wrong with that at all. I am sure it is the same for musicians and producers, when they have a beat in the closet that could blow away something they are hearing on the radio. Mainly I am inspired by positive people around me and working with people who are striving for the same things in their work. Not necessarily caught up in the more shallow aspects of their business like who they worked for or who was talking about their work, but more into the quality of work and satisfying themselves first and foremost that they have done the best job possible at the time. Big up Mr. Wiz, you know the deal! BS: Have you ever had any bad experiences with the design process, or deadlines? I always meet my deadlines, that’s the first thing you have to get straight. One of my tutors at the Cartoon Centre told me that most companies would rather have an average, finished piece of work on their desk in their desk rather than wait a month extra for a work of genius. That’s just practical business sense. You have to be able to deliver in a commercial marketplace, if you slow down then it holds up the rest of the process and that can mean the difference in people selling ten records or ten thousand, the window of opportunity is enough, even if you are not 100% happy with the work then you shouldn’t be doing it for a living, stick to doing it for pleasure and then you can take as much as you want. The only real problems I have had with the design process have been technical, machines acting crazy for no reason, printers not being able to read disks or fonts and paragraphs repaginating for no reason before they are set to go to final print. The biggest problem is often the client to be honest. Some people have unrealistic expectations of what they want and won’t budge, some are too vague and give you

absolutely nothing to work with. It just depends; the hardest part is trying to find a compromise between your own ideas, their management is a good skill to have in this field. Probably the worst part is collecting money, more often than not the people you have to deal with can be real shady when it’s time to collect, they want their work to be completed yesterday but don’t want to pay you ‘till the messiah returns! I have had that problem with the bigger companies more than little ones, mostly small labels and individuals pay their way cause they know the deal and they can’t afford to screw people over, the big boys don’t give a damn and know you can’t do much to them anyway as their pockets are deeper than yours!

C.E.O.Dario Sanchez V.C. Design Interviewed by Dirty Harry vcircle1msm.com www.viciouscircledesign.com

BS: The future of the company Vicious Circle Design? I am doing less album work in general, partly due to the depression the industry as a whole seems to be in these days, partly because a lot of companies just aren’t hiring outside freelancers as much and mainly because I want to do something different. Lately I have been moving more towards doing more corporate work, high–end digital scanning, typesetting letterheads, business cards, brochures etc. I am working with a few publishing companies in California

“TO ME HIP-HOP NOWADAYS IS LIKE THE JEDI WERE IN THE FIRST STAR WARS FLICK. A FEW OLD PRACTITIONERS OF THE TRUE ART, A FEW NEWBIES TRYING TO LEARN AND CONTINUE THE LEGACY AND A FEW TWISTED EVIL ONES POLLUTING IT FOR THEIR OWN PURPOSES” on book covers and just trying to move towards more broad-based general illustration as a whole. I still do the album work for whoever needs it, that will always be a staple diet for me, but you have to keep things fresh and I think thirteen years in the music business is more than sufficient. I am also trying to be more self-sufficient as always, to be less reliant on bringing in clients to pay the bills. I am licensing more t-shirt designs to outside companies which brings in money without having to do the work of promoting it yourself, also in the process of working a deal to get my longstanding comic strip published and a book I have been stewing over for a while. Lately I have also become more interested in web design, currently building my own site and will start to offer that service to other people if it all works out well. So I am open to whatever possibilities present themselves, things change and you have to be versatile enough to go with the flow. Mainly it’s about solidifying what I have and building on that. BS: What’s does hip-hop mean to you? To me hip-hop nowadays is like the Jedi were in the first Star Wars flick. A few old practitioners of the true art, a few newbies trying to learn and continue the legacy and a few twisted evil ones polluting it for their own purposes! (laugh) Hip-hop has always been something that’s about the sum of its parts; it’s a collection of things, not any one thing in particular. People have been overusing the four elements thing way too much lately so I am not going into all that, if you know, you know the deal, if not… suffice it to say it’s a culture and an attitude and it’s something that seems to be pretty rare right about now… it’ll probably swing back the other way eventually but right now I am listening to select stuff, mostly the old classics and a few new innovative, creative groups with something to say and ignoring the rest! Give me a Miles Davis album any day of the week and I am happy, maybe I am just getting old. BIGSMOKELIVE.COM

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DJ HARVEY (Left) and EXILE EYE (Right)

The Emerald Style Words by DJ Harvey

www.equilibrium.com

- - - - - - THE EMERALD STYLE

WHAT’S THE STORY?

----------------

FROM THE DEPTHS OF THE EMERALD ISLE, A BRIEF DOCUMENT FROM DJ HARVEY ON HIP-HOP, HIMSELF AND THE GREEN, GRASS OF IRELAND.

bviously hip-hop has grown throughout the world, but at different paces. Ireland has always had a strong hip-hop following, but a small, strong hip-hop following. Personally I feel that being a part of this is more than a good reason to fight harder to keep it alive, for it to evolve in this country (not that it hasn't already evolved); there are very dedicated people keeping the elements alive and healthy. When I talk about its following I'm talking about the heads that are doing something about it DJing, MCing, graffing and breaking. All these elements are alive in Ireland. More youths are buying studio equipment, I think now more than ever before, and there are more people producing their own stuff. I listen to a lot of different music and consider myself to be open-minded, but I feel that one music that hip-hop always has to fight harder against is shit commercial hip-hop and house music, because the majority of people (club-goers etc.) listen to house, and a lot of the record shops specialise in house music. Actually I don’t think hip-hop fights against house music, but in this country the predominant amount of people of

our youth culture listen to house, and I notice this because I DJ in pubs and clubs. I'm not a house music fascist but I am aware, I am aware that hip-hop music is my Prozac, it makes me feel good instantly and I don't need any drugs to help me feel that way! I'm not bitter, I just say “each to their own” and other times I say "maybe I should be a tradesman", and "fuck this DJ shit", but I can't. But seriously, every time I go into a club that usually plays house music it makes me feel stronger about what I'm into… hip-hop. No music is natural, music is an inorganic phenomenon, and it's homegrown but constructed as a food, pleasure for the mind, for my mind. For our minds. I'd definitely like to see more creativity and I'm determined that I will. Hip-hop is only one genre in the vast world of music, and it is not healthy to just listen to one type of music, but whatever you do don't listen to techno! Now I'm just bullshitting. I can't tell people what to listen to, when I play my records they either like it or they don't, but it would be nice to know that I influenced somebody, maybe through the radio. Ragga, hip-hop, funk, soul, reggae - the kind of stuff that reaches inside of you

A BRIEF RUNDOWN OF ALL THINGS HIP-HOP IN IRELAND, A RICH SOURCE OF (EMERALD) GEMS, JUST WAITING TO BE DUG UP...

and takes control, like it touches your innermost being ("Yo man, that sounds kind of trippy dude!") One thing is for sure, when I hear good shit it trips me right out. I asked someone the other day what their perfect job would be and they told me 'a dreamer'. I know I'm a little more productive than that without trying to convince myself, and stray completely off the subject, but I do tend to drift between the worlds from time to time, what's up Rae! Anyways, to all the heads following through in Ireland; nice one (It's a long road, but I think we know the stakes by now). With the Nice treaty being voted, yes we can expect a huge influx of foreigners moving to Ireland, and personally I think this will boost things given time. With all the different cultures we will be learning from each other, and moving forward together. This is evolution, it's happening and it will effect a lot of things, including music. We're still Ireland, we still have the green, green grass of home (well sometimes, if you know what I mean), but at the end of the day it's all good. Peace DJ Harvs

First of all check out www.equilibrium.com an Irish hip-hop label thanks to Troubled Soul and Exile Eye. There's a new label coming out called All City Records. All City are also known as a record shop in Dublin, owned by Splyce. The first 12” on that label is by Rira, a sort of follow-up of his last 12”, with two tracks, '25 O'Clock' and 'Liquidized Demons'. Rira is recording his first solo album, I'm sure it'll be banging and should be coming out around the start of the new year. It also features D a n z and Exile. H a z o, otherwise known as Illdependance, has a 12” about to be released which features Captin Moonlight. Two tracks, 'Trippin Through M y Dreams' and 'Born Rebel' should be out around Christmas. From what I've heard of Hazo's beats I can only say good things. Exile Eye is producing a Relevance EP - Relevance is a Dublin MC who used to be part of a crew called Homebrew. It’s a five track EP called 'Mushy Peas' for the new year and it should be good. Also, Relly won the Dublin MC Battle Championships, and Tuki won the DMC Irish Team Battle Championships, nice one Aidan. Exile's Album 'Pressure Points' and the singles that were released are doing well, and there should be more from him next year. DJ Mek has an album due to come out; the first 12” features S u g g s from Madness, Rodney P and Mr Brown who used to MC in Scary Eire. It will also have the much-anticipated instrumental of 'Flower Pot Falling On My H e a d '. Finally I think Creative Control have an album to be released, and that's what's coming out at the moment. A DJ Night called 'Choice Cuts' has lost its home and is looking for another venue which usually takes place on Friday nights in Dublin.

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JEHST & LEWIS PARKER ANTI HERO ANTICS I t’s all happening now. A simple statement but loaded with drama, maybe optimistic, maybe pessimistic, but certain of one thing; some action is needed, godammit. Flip that little description around and it also neatly describes two of our country’s most evolved and consistently heavy artists, as well as two of the most engaging hip-hop albums released in this or any other year - for Jehst the final stage of a rise to prominence that has scorched a trail a mile-wide since it’s start with an appearance on one of Disorda’s now-legendary mixtapes four years ago, for Lewis Parker the long-awaited Jedi-style return to the land of the longplayer, last seen with 1998’s groundbreaking ‘Masquerades & Silhouttes’, and after a lengthy spell in the hallowed halls of the capital’s underground. After a similarly long wait Big Smoke finally managed to get it’s hands on the cloudstepper and the drifter, and ask them, at last, exactly...what’s happening?

Lewis Parker & Jehst: Interviewed by Grammar Words by Grammar Photos by Gil Reynolds

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Grammar: What’s with the moods on the album, ‘cos it starts off on quite an uplifting vibe and then seems to descends into darkness a little bit. Lewis: It starts in the city man, the beginning of the album, you’re happy in the city Jehst: Tourist! Lewis: Tourist in the city right, finding breaks and going and hooking them up, and thinking about life, thinking about what a mess it is but at the same time celebrating the fact that it’s all good, and we’re all still here doing our shit, and then second side, ‘Anticipation’, and what I always go back to, cloudstepping styles, and then coming back into ‘It’s All Happening Now’, which breaks down what this shit’s about really, and then espionage Grammar: What’s with the espionage? Who are the spies, ‘cos the whole second half of the album is talking about spies... Lewis: The spies are everywhere bruv. Jehst: You never know, that’s why they’re spies (laughing). They wouldn’t be very good spies if you knew who they were! Lewis: The mans get exposed to the spies and the foes... Jehst: That’s what I never understood about James Bond man, everyone always knew who he was Grammar: He always used his real name and shit.. Jehst: Yeah, exactly, it couldn’t have been very good for business could it? A bunch of chickenheads running around chatting about him. Lewis: The spies are everywhere. Grammar: Do you think you’ve got that sort of perception from living in the city? Lewis: No. Just from livin’. That’s really it mate, the espionage

thing is just the circumstances of the world we’re living in, and that’s the truth of the matter. And one of the aspects of the espionage thing is the infiltration of the industry into our game of what we call hip-hop, and the controlling of that, and that is a part of that espionage shit, and all that technophobic shit. Jehst: Blatant. Industry espionage, spies in the fuckin’ industry, tryin’ to watch our shit and then tryna get some next plastic motherfucker to do it. Grammar: Jehst, I saw a review of your EP a while ago that says ‘Jehst makes you feel understood’, why do you think that is? Jehst: Fuck knows man, people always say that. People always say that kinda thing. Somebody else said to me that I capture what the generation is feeling. To me that’s crazy, it makes me fucking happy if that’s what I’m doing, but I don’t know... somebody else said that they just think I’m really honest, which is the only thing to me that can really explain it, if I’m just being totally honest about myself then other people are gonna be able to relate, ‘cos if I’m being honest then I’m being totally truthful and if I’m being totally truthful then I’m representing something that’s real, so that is gonna make people feel understood ‘cos everybody is kinda trapped in their own reality, especially in this country we don’t talk about certain things man, we’re very closed, we don’t often acknowledge how that it’s in our culture in this country to be mad closed and not talk about certain things. I think a lot of us feel more comfortable saying certain things on record than we would just saying it straight to somebody, know what I mean? I’ll say much more personal things on a record than I would to you sat in this room now.

Grammar: I think you both put a lot of yourselves into your records... Jehst: I was inspired by his (Lewis’) shit on that level, so if people are saying that about me now, I would say that about Lewis, and certain other people dropping at that time, I dunno tunes like ‘Next Type Of Motion’, the Roots Manuva tune, that was on that shit for me as well. People do feel it, it’s like a thing that you can’t nail down, and say ‘this is what I’m doing that’s allowing people to relate to my shit. I think it comes down to how much you actually get involved in doing the music, so many people making music are just making it for the wrong fucking reasons, you get so used to hearing egomaniacs that as soon as somebody comes along and says something different, especially in hip-hop because hip-hop is so fuckin’ ego-driven.. I look at my lyrics and I think ‘rah, these are punchlines’, but then maybe there’s a couple of observations in between, and other people won’t even notice the punchlines and just be like ‘oh fuck, he’s talking about being a stoner’, or ‘he’s talking about having no money’, and pick up on the subject because they’re used to just hearing... Lewis: Drunks. Jehst: Yeah, but that’s just because the people who have shit to say have always just got shut down, or kinda just disappeared or something, I dunno man, over the years... Lewis: You gotta have MCs over the right beats.

from the sounds of the beats. You hear beats, and you’ll say to me ‘this beat is -’ Lewis; See that beat we were just playing, that’s love and bullets, that’s all I can think about when I hear that. Jehst: See, there you go, already that’s a track mate. Lewis: It’s just whatever you get off the music at the time, you’ve gotta try and translate that. And then there’s ‘nuff times you just wanna say some shit that vivid anyway. Just say some vivid sick shit. Jehst: ‘Cos if you’re not what’s the point, if I’m not then I just don’t wanna use the rhyme? The rhyme’s just for the sake of the rhyme. Lewis: Sometimes you just wanna say something, like just talk about a subject, and all I’m seeing is images really, it’s like trying to keep on a direct subject, when really I’m just talking images, and emotions, and that’s really the subject. That’s it. There be ‘nuff rhymes I write about that are like that, it might just have bits of something which is fact, or a statement I might say. But ‘nuff times shit is just pure images and emotions, and feelings. Grammar: Can either of you ever see yourselves becoming complete technophobes?

Jehst: ‘Cos it’s the right beat that brings that out of an MC, know what I mean? The right beat will make an MC fucking bare his soul.

Lewis: Become a what?

Grammar: I wanted to ask both of you, your rhymes either describe or be based on really strong imagery what comes first for you, the rhyme or the image?

Jehst: Scared of technology, shut off... (glances around the sprawling mass of studio equipment) Look at all this shit! (both laugh)

Jehst: Rah, that’s interesting. (Lewis mumbles something) Nah, fuck off man! (laughing) You’re the originator! (both laugh) I dunno, that’ s mad. ‘Cos I know certain rappers it’s like a different thing, like Usmaan, he’ll talk about a scene, he’ll hear a beat and he’ll go to me ’ah, I’m seeing this’, and

Lewis: Nah, not at all. See I’m too much of a Western-bred person, that’s the thing.

Grammar: Technophobe.

Jehst: It’s true, I cringe, sometimes I just wanna smash my phone when it’s ringing, but I need it, d’you know what I

“THE POWER OF FLIGHT, THAT’S ONE THING WE CAN HAVE ALREADY, THAT’S ONE THING WE HAVE THROUGH MUSIC, MY FRIEND.” - LEWIS he’ll start writing about it and he’ll literally write like four bars describing a kind of scene, whereas I’ll come more with... I like to come with little sharp, little short images. If it was a film I’d be more like Pulp Fiction, changing up and switching, Usmaan might be more like Reservoir Dogs, know what I mean, flipping, but it’s one straight up story, the characters there just develop and that, and the little details. I think to me the best rappers are always gonna have images in there because that’s what it’s about, painting pictures in people’s heads. The best poets, that’s what they do, and I see us as poets man, if we’re not then what the fuck? Fuck that, we’re poets, straight up. Like Darren, look at Klashnekoff, paints pictures straight away, you hear one line two lines bang Lewis: You’re there. Jehst: You’re there, you’re in these shoes, and that’s why... it’s like, Nas, Illmatic did that for me, that’s one of my favourite records, if not my favourite hip-hop record of all-time, ‘cos when I heard that, how old must I have been, I must have been about fifteen or something, maybe fourteen, white kid livin’ in Huddersfield in Yorkshire, but I could still mad relate, and to be in the shoes of this nineteen year-old kid from Queensbridge, rah he’s gotta be a talented fuckin’ writer. And you’re there man, every track on the album you’re like ‘fuck, man’, and yeah with your shit too. Grammar: Yeah Lewis, what about you? Do you write from pictures? Lewis: Just scattered pictures, mate. Jehst: No you do blatantly, you hear pictures

mean? Being in the city exaggerates that, it kinda embodies that, that whole thing whether it’s technology... even living like we do is part of that technology Lewis: It’s the everyday, man. You feel the system clocking. That’s one thing about the city, you feel the system moving, man. Jehst: You see it. Lewis: You see it, you see how it works. You see one man on a corner doin’ some little thing, and you see the big man going and doing his big things. Jehst: I was saying it today, I was saying the same shit today. It gets to you. Lewis: It does get to you. Even travelling in the city man, public transport, that gets to you. Jehst: It’s that same struggle, how you struggle against technology... all it is, the same way the city represents this fuckin’ uncontrollable force, the system is like an uncontrollable force for us. So many people I know, they don’t vote. I tell them they should vote, but they don’t, and if you actually look at the facts and the figures of who votes in this country, and how few ethnic minorities vote and shit, and you actually think ‘rah, if everybody went and voted how much this country would change. That’s goin’ off the subject, but that is the core of it, and then the reality of it is... the system, this world, is just developing and developing and it’s just happening around you and you don’t feel in control of it, and the city embodies that, technology embodies that. It becomes instinctive to wanna run away from them things, but at the same time you’re drawn to them -

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Lewis: They decide which new technologies are cheaper for them to produce, and then decide to wipe out the market of the last, and just enforce the new. It’s a strange culture mate, how they can actually do that. When my TV goes off, I’m gonna be screwing, ‘cos I’m gonna be forced to go out and buy a digital TV, pay for my... (stops, shaking his head in despair) Jehst: But them things, it’s natural to wanna run away from them but at the same time it’s natural to fuckin’ want to embrace them, because they bring us all together, that’s like the common ground between all of us. Grammar: Right, time for an open-minded one. What’s the biggest fallacy on this planet? Jehst: Well I dunno man, Fallacy, he’s quite a big geezer, man... (laughs) Lewis: Fallacy’s a sick MC mate, I remember when I first met Fallacy he was fuckin’ sick mate. Jehst: Answer his question! Nah, what is the biggest fallacy on Earth? I tell you what, people are gonna go ‘Will, you’re a total paranoid fuck-up’, but the biggest fallacy to me is that you’re free. To me that’s the biggest fallacy, in the Western world are we free? ‘Cos we can drink Red Stripe, and we can buy a cigarette, and we can eat McDonald’s, and kill ourselves with all these various fucking things, and we can have mobile phones, and put brain tumours in our heads and shit. I’ve had this row with bare people, I’ve had this row with old hippies and shit and they’re like ‘oh, but you could go and live in the woods or whatever’ - bullshit, no I couldn’t go and live in the fucking woods. What, some crazy fucking hillbilly fucker’s gonna come and shoot me! (everyone laughs) Do you know what I mean though? He’d be hunting me down I’ve lived in the country, and country people are fucking mental. If you go and live in the fucking woods, mate, they’ll come and club you to death!

Jehst: Oh yeah, Palpatine wasn’t it. Lewis: - what the heck was he doin’ man? He was gettin’ all bubbly-eyed and shit (both laugh) Jehst: But then you have to say why the fuck did Princess what’s-her-face, why did she put him in that position of power, man? She needs a little slap round the face for even puttin’ him in that position of being able to do that (all laugh) You know you’re watching it and you’re thinking ‘why the fuck is she leaving Jar Jar Binks in control of shit like that’. It’s like some sixteen-year old youth tellin’ some dumb fuckin’ alien flap-eared motherfucker to deal with the future of the... Lewis: If the best that this lot can do is some loved-up sixteen year-old and a fuckin’ spastic from the bottom of a pond Jehst: A muppet... space muppet! Pond muppet... modern Kermit. Space Kermit. Lewis: Now the first one I ‘llowed him, even though I knew he was a muppet, I was just like ‘alright’ (Jehst laughs) Jehst: You know you’ve gotta put all this shit in man, all this Jar Jar Binks shit, this is mad important! Grammar: Right, next... sticks or the city? Lewis: Both, mate. Jehst: Yeah exactly, I can’t tell you man... Lewis: I couldn’t stay in the bloody city all my life, I’d go fucking crazy mate, I’ve gotta get out of this shit, but at the end of the day I couldn’t live in the sticks get what I need to get done, done. I can’t live in the sticks and make hip-hop and try to make this shit work because it’s not happening, you’ve gotta be where it is happening to make your shit happen. Jehst: At the end of the day it’s too isolated.

(everyone laughs). Simple as, front page of the paper; ‘Hippie Throwback Clubbed To Death’. (his phone rings, but

Lewis: It’s too small, you can’t be outside of the scene tryna

“BLATANT. INDUSTRY ESPIONAGE, SPIES IN THE FUCKIN’ INDUSTRY, TRYIN’ TO WATCH OUR SHIT AND THEN TRYNA GET SOME NEXT PLASTIC MOTHERFUCKER TO DO IT.” - JEHST rings off before he can get his phone out and answer) Ah shit, missed him. it was the biggest hippie in the world, Supa-T (both laugh). The original hippie, I missed his call, shit.

make it, you gotta be in the scene makin’ it. That’s the main reason I gotta be in London, ‘cos it ain’t like I wanna be here ‘cos I love it.

Grammar: Right, I’ve got some quickfire multiple choice-style questions here...

Jehst: You love the pollution and shit.

Jehst: What, about Eastenders and shit?

Lewis: And it ain’t like I love paying fucking extortionate amounts for everything, know what I mean? I’m still considering moving out of London.

Grammar: Nah, a bit better than that. Jehst: (laughing) If it’s all this philosophical shit we’re gonna be here all night! Grammar: Nah, you’re giving me too much credit! Ready? Beer or weed?

Jehst: Straight up, man! You look at the money you’re paying to live here, and for what? For the pollution, and for the fat cats to get fat? It’s just fucked. But it’s like that shit you were sayin’ earlier about wanting to be here, and actually every day have to see the rich get richer and the poor get poorer. Actually having to see it, that’s what gets to me.

Lewis: Weed.

Lewis: It’s actually watching it, like.. they’re building that fucking massive turnip out there ('Swiss RE Bank HQ', visible from Lewis’s yard), and you can see it going up.

Grammar: C-3PO or Jar Jar Binks?

Grammar: Looks like a big gerkin.

Lewis: C-3PO.

Lewis: Yeah, that big gerkin, and they’ve got it lit up every night, why have they go it lit? They’re still building it, and the amount of money they must spend just lighting it up just so they can say ‘look at our big gerkin’.

Jehst: Weed

Jehst: Any day of the week! Fuck Jar Jar Binks man, can we get that, Lewis can you say that as well, you’re a proper Star Wars fan, if you say fuck Jar Jar Binks they’ll understand... (looking at Lewis), nah, he can’t do it man. Lewis: Fuck Jar Jar Binks, man, he fucked up the fucking shit! I’ll tell you what he fucked up man, that shit in ‘Attack Of The Clones’ man, where he fucked up the Trade Union shit -

Jehst: To let their power be known. Lewis: Yeah, to let their power be seen and known, like they’re coming, the city’s coming, know what I mean?

Jehst: It goes back to that whole shit about ‘rah, the industry’s totally underdeveloped’. I’m telling you now, Tommy’s a classic example, Tommy Evans, he’s a Leeds boy and he’d still be living in Leeds right now, but he’s here because he knows he has to be here to make shit happen, ‘cos ain’t shit happening otherwise. Hopefully in the future it won’t be such an uphill struggle for kids comin’ out of Nowheresville to do their thing, and have some facilities. Grammar: Right, last one - the power of telepathy, or the power of flight? Jehst: Oh, shit. He’s fucked us up hasn’t he, with this. I think it’d have to be the power of flight, ‘cos I don’t actually wanna know what people are fucking thinking. It’d be too much, man. I’ve got enough shit going on in my head without reading your fucking minds while I’m at it (both laugh). I’d be fucked, I’d end up a loony. Whereas if I could fly, rah, that’d save me a lot of hassle (all laugh). Like ‘yeah, just going to Scotland’ (does a Superman impression). Grammar: Lewis what about you? Lewis: Telepathy, man, I’d have to say. Jehst: Really!? Ahhh, see, you’re a spy! Really? You could deal with it? Do you wanna know? Man might just be sittin’ here and might just suddenly be thinking about, I dunno, his girl doin’ some shit or something, you’re like ‘look man, can you stop thinking that, I’m tryna make this beat!’ (both laugh) You’d have to isolate yourself. Lewis: At the end of the day we all put it to use anyway. I believe we are all telepathic to a degree, and we can all build on that. You know when certain people are thinking some things, and it ain’t just looks all the time, you know. Jehst: Yeah, it’s body language. Lewis: Yeah, it is body language, and it is big feelings, and shit is deep. But I can say yeah, if I could bestow that skill that is some mad shit. The power of flight, I would like to say yeah, it would be safe, but I couldn’t put that into direct use, if I had the power of telepathy (laughing) I know I’d be rinsing my shit! (both laugh) Jehst: I was gonna say, that’s the difference between the choices, it’s the power aspect. Lewis: The power of flight, that’s one thing we can have already, that’s one thing we have through music, my friend. Jehst: But literally, yeah, if you could actually fly and shit, for me the difference is if I could fly the government would come grab me, scientific experimentation, I’d be a lab rat, fuck that. If I can read minds I’ll be at Number 10 fucking Downing Street by next week mate. BIGSMOKELIVE.COM

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Hoodz Underground: Interviewed by Dirty Photo by Gil Reynolds

Hoodz Underground

Contact: Jonathan Williams Trackshicker Records P O Box 3135 Sheffield S8 9WY e-mail: atcha84@hotmail.com phone: 07930 173051

Big Smoke travelled northbound to the Steel City, to ask notorious Sheffield crew Hoodz Underground... United or Wednesday?

BS: How? When? Why? Where did the Hoodz Underground form?

We have been together for nearly ten years now and it all started round about 1993. Sheffield DJ J Rugged (who left the group about five years ago) and an MC from Sheffield called Mr. Man who is no longer with us - R.I.P. They formed the Hoodz Underground that were basically full of MCs who were just hungry to represent. There was a need for something like that back then because when you went out to the clubs all you were fed was hardcore dance music, swing beat, soul and ragga, very rarely would you hear any hip-hop getting played. We were like the small community within the black community that would always be making noise for some hip-hop at dances. There were three places that played a massive part in the Hoodz Underground at this stage; the Hub, SCR and the streets of Sheffield. The Hub is a youth centre in Sheffield that has been around for years and mainly works with black Caribbean young people citywide. The centre back then was filled with young people from all over the city and this was the place that we had our meetings, practiced and held dances. SCR (Sheffield Community Radio) was a pirate radio station that lasted for

BS: Describe the scene in Sheffield now and the progression over the years? The scene in Sheffield is wicked at the moment and seems to be getting bigger and better every year. I believe that an entire generation and we the Hoodz Underground missed out on something special in the early and mid 80’s in Sheffield. There were several breakin’ crews that were representing Sheffield, like Smack 19, Hip-Hop Rockers, Positive Force, Steel City Breakers, Street Crew and Hip-Hop Juniors. My brother was a breaker in Hip-Hop Juniors and he used to come home telling me stories about all the battles that were going down. Plus club nights like the Limit (Spring Street) were also representing. I can remember seeing Smack 19 on Calendar News (Yorkshire regional news). But when our generation all started going to clubs it was all acid house, hardcore and ragga rave music. I have seen a massive change over the last ten years and hip hop is back strong. A lot of thanks has to go out to the promoters of nights like Phonetics, Tuesday club, Quality and Club Zero as they have done a lot to bring back the hip-hop scene. But these nights are all very different with very different crowds; if you like hip-hop with an R&B edge then Quality and Club Zero is the place for you, if you like your

“YOU CAN'T GET THROUGH ON RAW TALENT ALONE, IT’S OUR JOB TO TAKE THAT GIFT AND DEVELOP IT.” eleven years and ran seven nights a week. I believe that SCR was something that brought the whole community together. Everyone used to tune in from all over the city and it reached neighbouring towns like Barnsley and Rotherham. J Rugged had a slot on the station and we used to go up after he played his set and freestyle to all hours of the morning sometimes even battling each other. We use to diss each other so badly live on air, it made mans go home and write lyrics hard all week for the next show.

underground hip-hop and like getting the opportunity to see the finest UK acts live then Tuesday Club and Phonetics is where you want to be. Over the last three years all the top UK acts have performed at Phonetics, and the team at Phonetics especially Levi and Stuart have been instrumental in supporting us by giving us the opportunity to network with DJs and promoters etc. They have allowed the Hoodz to perform at their shows and their collaborations and the crowds have shown us nothing but pure love and respect.

If you failed to turn up to the station the following week it was like the whole show would be dedicated towards dissin’ you for not representing. I can remember forgetting about a radio show and turning the radio on and hearing man droppin’ lyrics dissin’ me, I phoned a taxi and went straight up there to defend it. This may seem like madness but it helped us to develop our lyrical skills and we had a laugh at the same time, so did all the listeners.

BS: What other producers, MCS, and DJ’s have made a name for themselves from the steel city? If you ask anyone up and down the country in the hip-hop scene about any one DJ in Sheffield that they knew, 90% of them would say J Rugged - he is known all over and even though he’s not in the Hoodz anymore he still gives support and stocks our records in the downstairs section of Reflex. DJ Mink is another man who’s known mainly by the old skool

hip-hop heads because he was one of the pioneers of the Sheffield hip-hop scene. There’s the Zam Zam promotions that are releasing tracks, Multiverse 3, and Doyen D who has had his name out there for a long time and will be droppin’ an album soon. Big Critz is a wicked MC and is well respected for his stand-out style and flow - it was good linking up with him to do the ‘Hard Copy’ EP and he is now working on his solo tracks and more tracks featuring the Hoodz. JC is a wicked producer that needs to be checked out, he produced the three Big Critz tracks on the A-side of the ‘Hard Copy’ and has plans to work on an album featuring UK MCs. DJ Looch, Riles, Rob Mecken, Andy H, and Chunky are a new breed of DJs that are making a lot of noise on the hip-hop scene in Sheffield and do bring in the crowds. BS: Being from up north, what’s your perspective of the hip-hop scene in this country? I think that there’s a lot of politics that is going on in the scene, but being from Sheffield means that you are very much out of it, which is good but it also means that you are out of many other good things that’s happening within the UK hip-hop scene like shows, collaboration and mixtapes etc. I also see that there are many small-minded people within the scene that wouldn’t want to support any acts that’re coming from outside of London, which I personally believe is dumb. If hip-hop is good then it doesn’t matter where it’s coming from, and if this scene is ever going to blow up how long will it last if people are only listening to acts from one city? Also to all the acts that feel like it’s harder for them to get heard, make sure that what you are releasing is QUALITY. If it is not ready then develop what you need to develop before putting your music out. At this point I must big up Disorda because he’s supported the Hoodz from day one and many other acts up and down the country, we were on his ‘Mind The Gap’ tapes way back in ‘96 and ‘97. Being in the north there is a scene all around us, with the universities and nights like Phonetics - Sheffield, Leeds, and I am hearing that they are setting up a night in Leicester too, C’mon Feet in Manchester and Offthehook in Derby. BS: What’s your future with live shows and next releases etc? With shows in 2002 so far we’ve done Deftex (Norwich), Phonetics, and in October we did shows at Phonetics, C’mon Feet and the Big Bang event at Sheffield’s Ski Village. November and December are free as I write but hopefully with all the positive feedback that we have been receiving it will help us to get gigs over the next two months. There is going to be another EP out by Trackshicker Records in February

/ March 2003, which will feature Hoodz Underground, Out Da Ville, Moorish Delta 7 and Big Critz. Producers working on this project will be JC, Hoodz Productions and MC Power with a drum ’n’ bass remix to Bloody Hell. We are also featuring on tracks by Evil Ed and DJ Supra, to be released on Landscape Recordings. BS: What promotion have you had so far? (Radio, TV etc.) In 2001 we performed on a show called ‘Where It’s At’ - that was shown on Sky TV. Radio, we’ve been live on Westwood twice - once in ‘97 and more recently on the 31st August 2002, plus we have been on several pirate stations up and down the country. Reviews in the national magazines like Hip Hop Connection (Mike Lewis), Blues & Soul (Big up to Ryan Proctor), DJ mag Single of the Week. Plus loads of websites such as ukhh.com (big up to Riz Harcus), local newspapers and much more. BS: What do you all do as a 9-5 job? Three members are working in the same field. One is a youth worker, another is a sports co-ordinator at a Sheffield College site and I am a Personal Advisor working with 16-19 year olds, which I really enjoy and it gives me a chance to help other young people in the city. BS: Sheffield Wednesday or Sheffield United? UNITED, UNITED, UNITED!!!!!!!!!!!!!!! BS: Any other things that you wanna get off your chest and any other shouts? "They say one of the best things to witness is raw talent, because it’s something you’re born with so it’s God-given. But you can't get through on raw talent alone, it’s our job to take that gift and develop it." That’s Hoodz Underground, that’s what we’re all trying to do. Big Critz & Menace ft. Hoodz Underground ‘The Hard Copy’ EP Out Now

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THE BIG JOKE

Featuring CIPHER JEWELS, DISORDA, SCOR ZAY ZEE, MYSTRO, PQ & EASTBORN

Questions by: Grammar Illustrations by: Dharma77.

Cipher Jewels

Disorda

Q.01 - If you could be any famous historical figure who would you be? CJ: I admire a lot of people. I wouldn’t want to be anybody but me! But I have much respect for Bob Marley, Marcus Garvey, Clarence 13X, Malcolm X and Ahkenaton. D: Can't think of anyone I'd like to be really, I'm quite happy with my own life making my own history. S: I’d be Adam the first man created just to see what Eve looked like and wether she was worth getting thrown out of heaven for! M: Albert Einstein! Did u know he only had seven different suits to wear that were the same colour? This was so that he didn't have to say 2 himself "What shall I wear 2day?", u know my man had bigger shit 2 think about!! PQ: I'd be Bob Marley. Because he set fire to bare trees but only tried to preach peace on earth. E: Thats a hard one, I want to say someone like William Wallace or Fredrick Douglas as they were both strong people with passion, but I will go for Moses, cos I wanna see what he saw at the top of the mountain and see if it was an Angelic glow or radiation, ya understand? Q.02 - Sum yourself up in a flavour? CJ: Can’t really do a flavour but the Gold! D: Bitter S: Scorzberry M: Triple chocolate chip with NUTS! PQ: Pepper soup, Burns your mouth but it tastes good. E: A Hardcore Bitter and twisted Lemon. Q.03 - What do you never leave home without? CJ: My mobile phone. D: Zone 1 & 2 Travel card and clothes . S: My Brain, because if I left it at home it would only slow me down cus Id have to go all the way back for it. M: Something to blaze! And if i do leave home without something to blaze, then i'm on my way to go and get something to blaze, other than that my NUT'S!! PQ: Obviously fully clothed, it's cold in London. Keys, a flasher, my phone, and a hat, that's wot I need. E: My walkman my mobile and a melancholic grin. Q.04 - What's your favorite Westwood catchphrase? CJ: It’s gonna be big! D: I don't listen to him to be honest, because of his catchphrases

Scor zay zee

Mystro

S: Its one from years ago “ Daaag” M: DAMN, ITS A GREAT LOOK! PQ: "You need this in your life baby"! E: Dont really know any as I dont listen to him, what about "Its all Bisto Baby, fo'real, on another hot Joint. Q.05 - What would you do with a million pounds? CJ: Multilpy it into 500 million. D: Pay you to write a better questionnaire, nah probally piss off somewhere hot and pay a pleb to run around for me running my business back home. Whilst I sipped cocktails by my pool with my girlfriend. I'd also set up a dope recording studio, and give it to the yoot dem, let everyone use it to make music. S: I’d share it with my family and friends and put a few records out or I’ll buy a million Coca cola bottles and sell em for 2p each. M: Be a millionaire and live off the interest, stupid! PQ: Set up a couple bussineses and investments. And have fun with sum of the money so I can appreciate success. E: Spend it, ha ha, seriously, I would use it to put out all the UK bands that deserve to be heard, on my label dropzonerecords.com, pay off my house and chill for a bit. Q.06 - What was the first record you bought and why? CJ: Grandmaster Flash, 'White Lines'. It was the hottest tune at the time. D: It's a toss up between Rappers Delight & Nelly The Elephant, I can't remember which, they were both in the .40p pile in my local shop... S: The first record I bought was thriller in 1985 when I was five I put the sleeve on my bedroom wall. M: Never had a record player so i never bought none, but i did steal my first N.W.A and Public Enemy tapes from some dudes gates! PQ: I can't remember, but I probably bought it 'cos it was hevito me at the time. E: Dunno?, I think it was NWA "Express yourself" Why? Cos I was a daft kid and thought it was "Fuck the Police" ha ha Q.07 - WIf you were invisible where would you go and what would you do? CJ: Research a lot of stuff that the masses don’t have access to right now............. D: " Think it would have to be something rude, it's gotta be really, you can make ya own mind up as to what it would

be, the choice is endless. S:I would go to all the secret government meeting where they wear white hoods and wurship a burning owl to see if George Bush and Tony Blair have sold their souls to the devil. Id also have a shower with Holly Valance and buss a nut in the shower. M: Listen man there ain’t enough space on this page to answer that! All I can say is i'd go everywhere and do everything! Shit no one would know it's me i'm invisible!! PQ: I would go to George Bush's house and try and find out why he chats so much shit. E: Are my body fluids invisible too? Ha, erm if not I would get myself down to some secret bases and find out what is really going on? Too paranoid? Na man, look at me I'm invisible! Q.08 - What's your theory on the Biggie and Tupac shooting? CJ: Conspiracy! D: I have no theory, they got shot, someone did it, I've got enough to worry about. S: I think tupac shagged biggies wife, biggie got pissed of and had him bumoed off. Tupacs people got pissed off and retaliated by shooting biggie. M: Somebody got away with it and OJ should be a suspect! PQ: Pepper soup, Burns your mouth but it tastes good. E: I think any man killing another one of gods creations is fucked up. As an affiliate of Thug Life and Outlaws I gotta swing towards 2 Pacs direction if thats what you mean, but as for a theory, I think its all a mess that got way out of hand. The truth will probably never come out. Q.09 - What is the meaning of life to you? CJ: Knowledge, Wisdom, Understanding, Freedom, Justice , Equality, Food, Clothing, Shelter, Love, Peace and Happiness for all that want it. D: To enjoy each day as a whole new life, do what you do with a smile on your face, if your not happy then change it. You only have one go. Basically enjoy it. S: The meaning of life to me is to relax, don’t get too pissed off at little things that don’t matter and just live peacefully and look after each other. M: Reproducing and enjoying it (both of them that is,life and reproducing). PQ: Progress, the ability to be great, the opportunity to achieve anything you can think of, life is the chance to change the living environment.

Eastborn

E: Treat others as you wanna be treated yourself, look for the good in everyone and try to be the nicest person you can be. Work hard at what you wanna work hard at and dont let anything get in your way. Nothing is impossible. Q.10 - What would you want written on your grave?. CJ: He was born, he had a plan, he succeeded and then he went to the essence. Shouts to the mighty Moorish Delta 7, to the Seven Entertainment family, to all the real heads in the hip-hop industry and scene in the UK. The 'Power & the Glory in stores right now, buy it it’s classic.) D: Made in the UK Respek to the Demon Boyz, London Posse & Gunshot. S: I’d wouldnt have a gravestone I’d have a humble mound of mud with no name Just like all those people who died and no-ones really took notice and not even known. M: Dunno what i'd want written on it yet, but i know i'd like a carving of the sun shining, that way i'll be lying under it forever! Shouts to: Jargon,dilligenceandvalliant(MI5),Bluklaavah,ShapeShifte r,Bagman,Ginger Wiz and the LowLifers,Shiznortz & Teddy Ruffspin,Big Smoke and everyone who know's me and shows love...LOOK OUT 4 MUSIC MYSTRO the E.P. NATURAL BORN SPITTAZ 4LIFE!! PQ: Free at last! Shouts to Heavy-Handed Recordings, Big Smoke Projects, Deface Records, Cobra Inc, Fallen Angels, Stone Circle, Poisonous Poets, Reveal, 10faces, 9lives, Jayare, DJ Bai, DJ Terror, "Young" Pete, Sgt. Rino, Enigma, Mr. Blacks, Ms. B, Lady Tease, 2shay, Seeker, Manifest, Kings Mass Shepherd & Reality, Benno, Plague, AKK, Yoms & Yosovic, SCUK, Snakes & Buck, Knuckles, DJ Amnesty, Wolftown Records, Dirty Harry, Chubby Kids, and the man in Mr. Bongos. E: "In silence, still he speaks" I wanna shout the Woodchoppas Dojo Family and all that are connected, Wolftown, UKHH.com peoples (writers and forums folk) Disorda, Outlaws and Thug Life in the States, Shotgun Europe and all Scottish crews and heads, too many to mention, you know I love you all, and shouts to everyone who buys my tunes and shows love at gigs, you are never forgotten and always appreciated no mater if you are showing love or hate. One.

BIGSMOKELIVE.COM

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“NO-ONE KNOWS YOU AND YOUR PRODUCT BETTER THAN YOURSELF. HANDLE THE BUSINESS.”

Front Cover: (Close-up)

Stockists:

Blue cut off top by Ecko Unlimited Blue shorts by Ecko Unlimited String Vest by Freesoul Boxing Boots by Lonsdale available from Size?

Ecko Unlimited - 01727 883555 Freesoul - 0208 874 7479 Quicksilver - 0208 392 0100 Lokation Clothing - 0207 274 3155 Size? - 0207 287 4016

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Credits:

Green padded jacket by Quicksilver Brown terry track bottoms by Ecko Unlimited Net tops made to order by Lokation Clothing

Styling by Denyse and Charlie @ The Lokation Company - 0207 274 3155 E:www.lokation_co@hotmail.comg

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EST’ELLE FIRST ROUND KNOCKOUT

ou have heard this lady MC, but have you heard her sing? Oh my gosh. This is one home-grown talent that we are proud to have gracing the cover of the latest Big Smoke. Coupled with the talent is a refreshing drive and ambition, so expect to see big things from one person that gains respect everywhere she goes. Gwan girl!... Est’elle: Interviewed by Pete Real Photos by Gil Reynolds Asst. Christopher Tracy

Stylin by; Denyse@Lokation Asst by; Charlie@Lokation Hair/Makeup; Abbigail Alexander Toosmoothdredd@hotmail.com stellar_entertainments@hotmail.com

BS: How and when did things start for you? Est’elle: They started when I was about seven years old. That’s the earliest memory I got of me singing, at church, with my family and that. We had a choir, and my family made up the choir, that’s how many of us there was! From there we kind of just progressed.. I was in various groups, we thought we were Salt ‘N’ Pepa at one point, then we thought we were En Vogue, and we had various kind of issues. It’s all in the family, we’re all trying to develop as well. I kinda came up rapping, it was my uncle that got me into it ‘cause it wasn’t always a popular music in our house, whether it was more into reggae, and soul, then church and then gospel. So it was kinda like ‘you’re not allowed to listen to that’. I’d go to my Auntie’s house, and I’d be listening to it full blown, I’d be back-spinning, and elbows getting black and shit. Then I went to college and got into it even more, started rapping proper like Missy, or Da Brat, the copying started back with Salt ‘N’ Pepa in ‘89, and before that Roxanne Shante - just to kind of practice and shit. I was always a rapper, I don’t think it was a thing like ‘oh, she’s a female rapper’, it was more like ‘she’s good and I can identify with her ‘cause she’s a woman’. That’s where the inspiration started, I kinda grew up with various groups, then came up and started working, got into hip-hop through Deal Real, the shop, in about ‘98. Got to meet a lot of people from there, a lot of people from there, I was like ‘Wow!’, people I’d seen on TV, or briefly heard on radio. It was a nice situation to be in. I kinda started rapping while I was there but not really on a proper level, ‘cause everybody was like ‘yeah whatever, there’s only Phoebe 1 and that’s it’. I’m gonna keep doing my thing regardless, and I started doing it. And here we are today. BS: Why did you go into rapping rather than singing? Est’elle: I don’t know, because I love hip-hop. And it’s not like I did it ‘cause rapping is gonna get me more attention, a lot people have said that, but you know what, at the end of the day they both kinda come easy to me. I work on the beats and what the beats tell me to do. But like, other tracks I had out were on album projects, I had them out on compilations, not on my own, so I did Skitz’s album, ‘Domestic Science’ with Wildflower and Tempa, I did ‘Hands Up’ which was on the Word Lab album in 2000. I done ‘Who Am I’, that went on the Social Misfits album. Also we done ‘Trixstar’ with Blak Twang, that was nuts!! BS: So where are you at right now as for deals, releases etc.?

Est’elle: I got a single coming out on white label, I haven’t got an album deal yet, we’re talking to a lot of labels so we’re still negotiating. I’m setting up my own production company, Stellar Entertainment, ‘cause I basically wanna be able to do what I gotta do regardless of a label, so whether a label signs me or not, whether a label drops me I can still tell them to fuck off. Or I can still say that regardless,

whatever you do, I’m still going to put out a certain amount and get a distribution deal, ‘cause I’m running my own shit. BS: How do you feel about major labels? It’s nice to be signed to a major label, but it’s not necessarily a good thing is it, ‘cause they can push an artist to do something they don’t wanna do, or market you wrong? Est’elle: You never go into a situation without having prior knowledge, or someone telling you about things. Never put yourself into a situation that you’re not able to handle. And I have enough knowledge now to know exactly what a major label is offering me and what an independent label is gonna offer me. And know which one to choose. Labels are the same, they’re out there to make money and make business. That’s cool - if that means compromising your art or whatever that’s their goal. They don’t give a fuck,

Whether it’s on the road, on the street, you gotta make music from your heart, you can’t fuck around and be like ‘oh well, they said to me I’ve got to sing me etc., that’s just long. I make songs like that, I make tunes with hooks, I do it ‘cause I need to remember it, that’s why I have things repetitious. I have melodies in my head that are hooks, I can’t make tunes that are boring to me or make tunes that I can’t remember - if I don’t remember it then I’m not putting it down, ‘cos that means no-one else is gonna remember it. What’s the point of making tunes if nobody gonna wanna sing along, to me that makes no sense. That’s the bottom line of the industry. You gotta make those tracks, and you gotta be happy with them. You need to make stuff people can remember. It’s simple like that, I can’t get when people make tracks that aren’t memorable, like you’re walking out the room and you don’t remember it again, and their like ‘raaa, that should be a number one hit’.. WHY?! Give us one

“NEVER PUT YOURSELF INTO A SITUATION THAT YOU’RE NOT ABLE TO HANDLE.” independent or major. An independent might say ‘oh we believe in you more’, but they won’t believe with their money more, whereas a major would be like ‘fuck it, even though we don’t believe in you we’re gonna throw money at you and see what you do with it.’ My thing is this, I won’t get into a situation regardless of a major or an independent signing me, but you know what? This is me, Stellar Entertainment is me, and if a major throws loads of money at me I’m gonna take that budget you give me, slash it in half, put some away and use exactly half of that budget to do what I’ve got to do. Or give you back half your budget so you’re not spending millions on me, and then drop me when you don’t get your millions back. Use it properly. No-one knows you and your product better than yourself. Handle the business.

good reason WHY?! I know it comes from your heart and soul, and that’s all good yeah, but why should I spend two pounds and buy that if I don’t wanna hear it again, or remember it? Why do you buy music for?

BS: Are you thinking in terms of making commercial tunes, like say Blak Twang - he’s very street, but makes good radio tunes.

Est’elle: Yeah, I think it’s all been helping, I think we just kinda stepped to the forefront a little bit more this year, and the next couple of years there’s no going back. Heads expect you to get better, so keep coming with the goods, keep doing your thing, keep recording, keep putting your tracks out. I’m not tryna stop to go back to a 9-to-5 job. I’m just not doing it. This is what I love doing, and I’ve got the opportunity to do it, why am I going to throw it out the window because of someone’s opinion!

Est’elle: I think Blak Twang makes tunes from his heart. He doesn’t sit there and say ‘this is commercial, that is that up to a point’. Everybody needs to be aware that a good hook hurts. Standard. Someone singing a hook hurts, someone singing something that someone else can sing along to helps. That’s the bottom line in making money, making business, and you’ve got to know this if this is the business you’re trying to get into. BS: Do you wanna be like a platinum-selling artist if possible, even if in order to do that you can’t do exactly what you wanna do? Est’elle: In order to do that you gotta make music from your heart, regardless of if it’s going to go platinum.

BS: You also gotta aim it at people who don’t normally buy hip-hop, who just buy music. Est’elle: This is what I’m saying, hip-hop heads get it for free over here, you burn them a CD. BS: There’s quite an awareness of British black music at the moment, like Beverly Knight, Ms. Dynamite, do you think that’s helping hip-hop?

BS: So when’s your album coming, and what producers are you working with? Est’elle: This year. Producers I’m working with are Fusion and Blufoot, and done some stuff with these dudes from L.A., Fayrod and J Wells, wicked heavy producers. I produce a bit myself, done a couple of tracks for some people.

BS: I heard you’ve done a track with Atomic Kitten, tell us about that? Est’elle: Funny, yeah, I done track with Atomic Kitten. The girl with the big eyes from Atomic Kitten, Liz I think her name is, she’s lovely, they called me down, and I’m not really into Atomic Kitten, so I’m like ‘let me hear the track and let me meet her’. You know what, they’re cool people. They asked me to do it, I liked the track, what can I say - I’m not turning it down because your opinion of them is whatever - that’s good for you, that’s not mine! She’s properly cool. She sang a song, it’s totally original, she wrote it and she needed a female rapper. Went to one club with them, they’re crazy, I feel like a saint now! I was like ‘you lot are nuts! I’m gonna sit in this corner and chill’. They were drinking bare Bacardi’s, bare Jack Daniels, all together just like necking it... I feel real innocent right now, and they’re the people, they’re the pop heads! We did it, I don’t know if it’s gonna come out but the publisher loves it, so maybe it’s gonna be on the third Atomic Kitten album. BS: What about 3SL, ‘Touch Me, Tease Me’ - I saw you on Top of the Pops. Est’elle: Yeah man, we were on Top of the Pops, that was freaky. The fact that I was there doing a guest spot was like some, ‘Wow, shit, OK, I’m here, well I can’t be all that shit. I gotta be good’. I’ll be properly happy when I’ve got my own single ‘Excuse Me’ and it’s on Top of the Pops. That’s my aim.’ BS: What about coping with fame? Est’elle: It’s funny! If I’m having a good day I will smile at you, if I’m having a bad day I’m not even looking at you. Simple. I‘m gonna keep doing what I’m doing, I don’t feel like I’ve got to change up my persona because of someone telling me ‘your famous’, or ‘I’ve seen you on TV and you were smiling then, so you should be smiling now’. If I’m having a bad day and I got period pains I’m not smiling! I‘m just me. BS: If you were a pigeon who would you shit on? Est’elle: I think I would shit on President George Bush. I think he’s a bit of a dickhead right now, he’s trying to fight a war that his dad started, for no reason, and fucking up people’s lives. You are fucking up, Bush. You so are. Crazy. BS: So what’s your ultimate ambition? Est’elle: To make music that I love on a big enough level, and be able to employ my family, and we can do bigger things, and basically put hip-hop in the UK on the map properly, whether it’s by me or all of us. ‘Excuse Me / Just Because’ Out Now Est’elle hosts Dekefex every month BIGSMOKELIVE.COM

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FUNKY DL SOUL TRADER BS: Run us through the equipment. I have an Akai DPS12, which is a 12-track hard disc recorder. I got that before I got my Roland VS1824-18 track recorder. I use an Akai MPC 2000 for all the beats and stuff. I used to use a Roland XP10 keyboard but it wasn’t the hottest, so I got myself a Triton LE keyboard by Korg, which I use for keyboard sounds. Actually you can sample on it as well but I don’t bother ’cos I got the MPC. I’ve got a Tomeeq VCQ compressor for the mic, which I don’t use anymore really. Then I‘ve got a Tascam DA20 DAT machine, the amp, the tape deck, graphic equaliser if I wanna E.Q. things before I sample, Yamaha LS10 speakers, little crap mixer and we’re off.

a part of called ‘Thursday’s Love’. We’ve got a girl called Sienna singing on the album, but it’s like we’re using her voice as an instrument. It’s like a production showcase written by us, a musical, more R&B flavoured thing. We just decided, OK let’s just try and make a nice R&B album, not only to put out there to see what we can do, but also to showcase to other artists and labels that there is more to this Funky DL that raps and makes hip-hop. I mean, put me in a studio with say...the Sugababes, and I’ll try and make something good. I know I can sit in the studio with those kind of artists and come up with something creative. I’m also trying to finish off my next album. Most of it’s done, I’ve got about 12 tracks recorded. That will come out in Japan around March/April next year, and here in the summer.

Funky DL: Interviewed by Pete Real Words by Pete Real Photos by Julie W

BS: Can you get your finished sound with that? BS: You’re concentrating a lot on Japan? I can, with this Roland V1824 there are so many capabilities for mixing in there, so many effects, so much you can do with this digital equipment nowadays, that you can get your finished sound. When I was signed to Rondor we didn’t even have equipment as good as this, and that’s what I mixed my first album on. It wasn’t the greatest mix in the world, but now I have my stuff at home I have more time, as opposed to rushing at the studio. BS: Do you record at home then go to the studio to mix down? Most of it I finish here. There’s bits that I’ve done and taken to New York to a studio on Broadway called No Mystery, a few bits of mine, but mainly the stuff I’ve done with an artist called Sex. Black Current Jazz was done here.

Yes, because 95% of my revenue comes from Japan, so I have to. If I suddenly stopped and concentrated on the UK I’m gonna find myself with broke pockets. What I’m trying to do is use the money from Japan to put us in a position where we can do more in the UK. With Black Current Jazz I paid Zzonked (promotions company) to do the promotion, with the money from Japan. BS: Do you support yourself through hip-hop? Yes, completely 100%. The thing is, I’ve got to a position now where I’m releasing at least a minimum of five or six records a year. They might not all be Funky DL records, but it means that every two months you’ve got some turnover. BS: Do you press over here and send the records to Japan?

BS: You record vocals here too? Yeah, you just have to wait ‘till the kids go home ‘cos they’re screaming at each other outside. BS: When did you start producing? I started trying to make beats in ‘89, when I was 12 years old. But I only had a crap Casio keyboard at school worst sounds ever. Properly I’d say ‘94,’95. ‘The Individual’ was the first record I put out, in ‘96. It was a white label, but it was in a few stores. The first proper release was ‘Soul Silhouette’ on Almost Records. BS: Do you have a formula you follow when making music? Not really, it depends on the type of track I’m making. If it’s a track where it’s more of a straight spittin’ track then I’ll start with the drums, ‘cos the drums can really create a mood for the track (check ‘UK Convention’). There’s other times when I’m just flicking through my records and I find nice mellow breaks or whatever, and I think yeah, that’ll sound nice. I might loop it up and have some temporary drums in there, and change things up later. Sometimes I’ll do the drums first, add a loop and think - OK, I need to add or take something away. I don’t really have a set formula, or at least one that I stick to always.

Yeah. I have had records that have been pressed out there, but it’s tracks I’ve done when I’ve gone over and recorded with the Japanese producer, just got paid and they’re left to do with it what they want. I thought about pressing in New York but the shipping is so expensive. I wanted to get the master lacquers done in New York, for the sound, and shipping that back, but the pressing plants I’ve enquired with over there said if I don’t do the whole process with them, they charge a lot more. I’m just trying to get my sound even better here. BS: Finally, tell me about the new album. It’s called ‘The Classic Fantasy’. It’s gonna be jazzy, but it’s gonna be different though. It’s not as jazzy as some of my other stuff. I’ve tried to think about lyrics a lot more, and issues as well. For example ‘Right Here’ talks about a lot of the stuff that’s going on the roads right now, the way a lot of these youths are behaving. On ‘Unconditional Love’ the first verse is talking about how a lot of young guys are, the second verse is kinda like how a lot of young girls are. On this album I touch on a few things and get a bit more personal with a lot of things I’ve never really said before. Before leaving, DL plays me various new material and trust me when I say “The shit sound nice”.

BS: What are you working on at the moment? I’m working on an album with a production collective I’m

ThanksDL. Pete Real.

BIGSMOKEMAGAZINE

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Will Ashon: Interviewed by Grammar & Dirty Harry Photography by Gill Reynolds

bIG DADa

ig Smoke linked up with Big Dada to talk Big Tings with one of the most progressive labels in the country. First with the Big Boss Will Ashon...

www.ninjatune.net/bigdada

BS: What was the hardest part of setting up Big Dada? WA: I started working on it in 1996 and the first release was 1997, the hardest thing at the time was to get anyone to buy the record. As a UK hip-hop label, it's easy to forget how much has changed over the last five years in terms of attitudes towards that..it was a joke, hip-hop in the UK was considered a complete joke. Maybe Funky DL had an album out in 1996 or 1997, the Brotherhood just got dropped and then Lewis Parker had his album probably '98. The stuff that people usually struggle with with labels was easy to me, because I knew someone at Ninja Tune. I met them a couple of times and I went and said 'would you be interested in doing it?' And all credit to them, one of the things about our label is we always seem to have taken shit because we're connected to Ninja Tune, and 'it's real hip-hop' or 'it's not proper'. The fact of the matter is they put money into UK hip-hop via me in 1996, when no other fucker was. Bad Magic didn’t exist, Warp didn’t have legs, Wordplay…it always pisses me off when people are like 'Oh yeah, Ninja Tune, it’s a trip-hop label.' Yeah well, they put money into it when no one else was, give them a bit of credit. BS: What your relationship with Ninja Tune like? WA: It's good, we basically co-own the label, so it’s a good relationship. Obviously moneywise I have to run things past them, but they have a vito on my spending. A&R-wise or in terms of who I sign it's down to me really, so I didn’t have to employ staff and didn’t have to find a distributor, it all came. BS: Any struggles and problems since then and peoples' perceptions of the label? WA: It's just hard running a label, you know, you run a magazine, it’s the same thing. People think it's glamorous, people think you're hanging around parties the whole time and having a really exciting time, when actually running a record label It’s an office job, you set in an office, you answer e-mails, you make phone calls and chase up artwork, you chase up the test pressings, it's just deadlines. It’s an office job by any other name, and that’s the thing I find hard 'cos I'm the most disorganised person in the world. I guess maybe because we came up at a time when there wasn’t a lot else going on, we always seen to take a lot of stick from people who consider themselves to be the true keepers of what hip-hop is about. We've released more UK hip-hop albums in the last five years than any other label in the UK, than any other label has done in the last ten years, and yeah you might not like all of them, they might not all be to your taste, but the bottom line is we're putting records out, and not because we're making large amounts of money, 'cos nobody puts out British hip-hop records to make their fortune. We've done

really well with Roots Manuva, we've worked fucking hard, we sold some records. But overall people can't see the contribution we've made to the revival that there's been as well. It's still like 'Yeah, they're not a proper label', and WHY? 'Cos we don’t think that hip-hop stopped with DJ Premier in 1992, because we don’t think that there’s only one UK accent you can rhyme in. I thought it was about expressing yourself in your own way and being true to what you're about, not kids from Hull rhyming in a London accent 'cos otherwise all the people in London go 'You're not real. You sound funny’, That shit pisses me off. BS: How do achieve quality control, are you strict? WA: The main thing I've done is made people put out shorter albums, 'cos everybody comes to you with albums that are an hour and fifteen minutes long. It's all good stuff don’t get me wrong, but most people get to forty minutes and are exhausted; there's only so much complex wordplay and abstract dark beats that people can take in one day. There's always a bit of give and take, we're an artist-led label. All I always said is I think we put out interesting records. BS: Most of the MCs on your label have got pretty complex and abstract flows - out of the whole Big Dada roster, who would win a shit-talking contest? WA: They all uniquely talk shit, in their own unique ways. Most of my artists are really straight actually, most don’t smoke, some of them don’t even drink, they're clean living people. It's partly because they wanna kill it when they perform. BS: What's new from Big Dada for next year? WA: There's a new Gamma album coming up next year which I think is gonna be fantastic; (a) I think they're really talented, and (b) they've been really ruthless about being honest with themselves, about what they feel didn’t work about their first album. We're doing an album with Infinite Lives next year, and Infinite's stuff is going to be ILL! He’s considered a punchline MC, really nasty punchlines, but punchlines nonetheless, and now he's taken that and he's broadened it all out. He structures everything so well, it's like someone building a house. The album will be nasty, but there's some really serious shit on there as well, it’s gonna be a really good balance. Then obviously Lotek, I think that album's gonna be phenomenal as well, then we've got new signing MF Doom, and we've just signed Big Jus as well from Company Flow.

deal, I expect he’s going to go elsewhere and good luck to him really, simple as that. Obviously I would love him to stay on Big Dada and we've made an offer, but he’s a star now and we're a tiny independent. If he wants to buy a nice house, and get a big advance, good on him! He's a brilliant artist and he deserves everything he gets. He'll always be part of the family, 'cos you can't leave your family - he thinks he can, but you can’t! BS: Where do you hope Big Dada will be in the future? WA: To be honest with you I want Big Dada to be a great black music label, not just a great hip-hop label. If you put out the strongest records you can, you know that your label is going to have a legacy whether it goes out of business tomorrow or it's still going in ten years time. We never put out a record just 'cos we thought it would make us money, and there’s very few hip-hop labels anywhere in the world that can say that. But hip-hop is contemporary black music, and I wanna be putting out the best of that music. .

BS: What’s the current situation with Roots Manuva? WA: He’s out of contract 'cos we had him on a two-album

‘Extra Yard’ compilation LP Out Now For back catalogue check out www.bigdada.co.uk

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Lotek Hi−Fi ...and secondly with the new Big Thing pn Big Dada, producer, MC and DJ Lotek.

BS: Last time I heard from you you were moving to Birmingham, how have you got back here to this stage? LT: Yeah, transglobal transportation, just went up there to write tracks, and I wrote tracks, and I came back. It was about time to do Roots Manuva’s second album, ‘Run Come Save Me’ I came back and laid down my two tracks for that. I was planning on going back, I’ve got a studio up there. but of course then we went on tour. There was a studio that Sound of Money Records had, everybody was passing through, Roots Manuva, Blak Twang, Skinnyman, Bury Cru, Mud Fam and what is now Taskforce, Farma G & Chester P, everybody passed through. It seemed like it was a long period but I think it was probably only about three weeks. It seemed like about two years ‘cause about a hundred tracks got made. Those tracks are somewhere, someone got them. BS: I notice you’re MCíng now, how’s it been getting your voice down and recording stuff?

a James Brown sample which everyone has used thirtyeight times, and I stuck it in my MPC, which everyone else has got, exactly the same way, and say ‘yo’ enough times... it’d be a hip-hop tune but it wouln’t sound right, it wouldn’t sound right out of me, anyway. Some people can do that, I can’t do that. If it sounds reggae then that‘s me I guess. I listen to a lot of reggae, I listen to a lot of stuff. BS: I remember you seemed to be quite into the rasta kind of lifestyle back when you were in Finsbury Park, do you still follow Rastaism? LT: Yeah... there’s some stuff what their into which I can’t get my head around, you know. Religion and politics, don’t talk about religion and politics! Don’t you know it’s 2002 man, they gonna fly an aeroplane into my bedroom! But no, it’s good man... I don’t eat meat and I don’t drink any day of the week that doesn’t have a ‘y’ in it. I try and live good, innit. They’ve got some good ideas, and it means I don’t have to pay for a haircut for thirty, forty years, and that’s fine by me, man. You see how much combs cost these days!? On the real, there are some elements of what they believe that ring true for me, and there are some elements of what everybody believes in that ring true, so you take what you can and build your own view.

LT: I’ve been doing it for a while, but now is the only time I’ve been able to get back into it. I surprise myself sometimes, ‘cause I don’t write any of the lyrics down, I just sit here with the microphone. I just get an idea and I lay it down, four bars or whatever, sometimes I can get a whole verse in my head but as soon as I record it I immediately BS: You got a mad little set up here under your bed, forget it, ‘cause it’s never really been anywhere except in what part of the day do you make most of your music? my head. Like when you’re writing rhymes with pen and paper, I can think more than I can write, so I’m only probably LT: Now! Now. In the now time, whenever. I’ve put it on at catching a quarter of my actual stream of thought or my four in the morning before, that didn’t go down too well. stream of consciousness. What would of gone on to paper, (imitates his girlfriend) ‘what you doing?’. That’s why I’ve spilled on to paper, now spills onto the track, and the idea got it here, ‘cause it’s all the time. If there was a section was that I was gonna or time of day then I go back and edit it into would book that time in It s kind of like happy, purposeful accidents, a verse, you know, meant to happen in an organised chaotic fashion the studio, and I’d go in learn it and rap it back there at just that time of into it again. It’s got a life now, I think as a result of it the day, I‘d have a social life, and have friends, and I’d go lyrics are like that. Paper’s quite confining - when you write out, and people would like me. It’s whenever. Let’s make something on paper it really only captures the moment that a beat now! It’s all the time!! you thought of it. Sometimes when you read it back you can’t re-catch the moment you thought of it, so you’re not BS: Your whole style seems very spontaneous. gonna perform the way you were thinking to perform when you wrote it. LT: Very rarely do I know what beat I’m making before I make it, a couple of times I might have an idea, a tempo or BS: Tell us about the other MCs on your album. a mood that I wanna set, and I work from there, but I hardly ever know what it’s gonna be like - mostly it’s a reggae feel, LT: One of them is me! There’s OJ, he’s the son of Jack up-tempo, with a slightly classical opera voice. It’s kind of Raddics who, for those who are uninformed people, is a organic. I’ve got into a method of laying it down now, even Jamaican reggae singer, and the other person was a hype so it’s kind of mad - it does seem to lay itself down in an man for the shows, he’s got a big booming voice, he also organised way. It’s kind of like happy, purposeful accidents, plays the clarinet as well. Then there’s Wayne Paul, he’s a meant to happen in an organised chaotic fashion (laughs) soul reggae singer who was on Sound Of Money back in the day. But there‘s more people, not just the vocalists, BS: If you were a pigeon, and you could take a massive there are musicians as well. Even though they haven’t got shit on anyone, who would you crap on? words to say they still have voices, they still speak to me. LT: I’m flying around like a pigeon, and I need a crap over London somewhere, who would I aim for? If he BS: How would you describe your first offering from was in town I would crap on Tom Cruise. Or an English Lotek Hi-Fi? pigeon in New York, and I would crap on Tom Cruise, probably a few times. One time for Minority Report, and LT: Wow, I don’t know man, um, the album is a mixed another time for Mission Impossible, and another time blessing! And that’s the only way I can describe it. It’s mixed. for the sequel BS: It seems like from the preview you’ve given us it’s BS: Who do you think is gonna buy your album? heavily, heavily reggae influenced. It wouldn’t be what people expect of a conventional hip-hop album. LT: My Mum! She’ll buy it, and go into the shop and move them all to the front! I dunno... people who have accidentally LT: Yeah, I think if it was a conventional album it would wondered into the wrong section of HMV might buy it... look out of place on the Big Dada roster, you know with people who like big beat, and get confused by the name New Flesh, Gamma, TY and the two-headed alien from Lotek Hi-Fi. Mars.. (laughs). MF Doom, and a two-headed alien from Or dyslexic people who thought it said Techno! Mars. If it was to be like... I dug in the crates and I found BIGSMOKELIVE.COM

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THE MIXTAPE A MUSIC DISTRIBUTION COMPANY. FOR MORE INFO EMAIL : INFO@DAINDUSTRIES.CO.UK

he mix-tape, as an art form, has come a long way. Bambaatta and Jazzy Jay’s “Death Mix” is a primitive daubing on a caveman’s wall compared to Q-Bert’s “Pre-school Breaks”, which is more akin to a wildstyle graffiti burner on a Japanese bullet train.

Yoda-biters (how many people are copying my shit at the moment?!), piss-poor mixes of current hip-hop that you could easily knock off yourself at home, silly boring abstract tapes or tapes of the same old classics. Plus most hip hop DJs' 'sense of humour' appears to be limited to some kung-fu samples, an answer machine message or a silly shout-out from their friend pretending to have a hillbilly accent.”

Some DJ’s are, God forbid, actually licensing tracks to go on their mix-tapes. Where’s the sense of institutionalised piracy in that? It seems that the scant regard for copyright laws, which were part of the cavalier attitude of the DJ, have had to change in this modern million-dollar climate. Every DJ wants to get paid, and who can blame them? It seems that your Funkmaster Flex’s and such are selling more copies of their mix albums than the featured artists do of their own.

It seems that Yoda, rightly so, is not one to suffer fools gladly. But when making a tape what creates the right balance? I asked DJ Z-trip to break his style down; “Well I guess I just moved towards doing what everyone else wasn’t doing…I get bored with the same old stuff being played or done…you could say my style turned even more into a renegade style…at all costs don’t sound like anyone else!!! And the sad thing is there are only a few of us left who spin with those ideas in mind.”

Every record store's shelves are groaning under the weight of jiggy Flex and his big dawg copycat mix CDs (I know, CDs). However, in the hip-hop tradition true quality thrives on its opposition to the mainstream. Now the pioneers are back. Evoking the ghost of Flash and honing the epoch-defining skills he displayed on his “Adventures on the Wheels of Steel” mix, demanding the genre to be risky, and fresh because of it. Of the new knights sat at the round (turn)table let us first describe Kid Koala. Now the Kid epitomises all that is magical about the mix-tape. For ‘twas he who created “scratch-cratch-ratch-atch” and rejuvenated the underground buzz within the scene. On this masterpiece he barely uses hip-hop, instead plumping for plinking-plonky Chinese rhythms over rewinded beats and Charlie Brown dialogue scratched into amusing new contexts. It was this contagiously fun approach to turntablism that had listeners flocking to him like some vinyl Pied Piper, namely the boys at Ninja Tune who promptly signed him to their label off the back of it. Damning proof that the best way to make waves as a DJ is by circulating homemade tapes. Like a stark contrast to the professionally tweaked studio mixes of the mainstream, Kid Koala proved that mix-tapes such as his are an integral part of DJ culture. They allow an affordable, practical vehicle for anyone, regardless of notoriety, to showcase their talents with complete artistic freedom. It’s the equivalent of a late-night bombing session in a train yard or an open mic battle. Proper grass roots hip-hop. Another DJ who has risen through the ranks to become a pioneer is DJ Yoda, a north London turntable wizard and all round mix-tape authority. On his Spine magazine promotional mix “Fisticuts” he entitles his opening track “How Not To Do An Intro”, lampooning all the tired clichés that dog the genre. I caught up with him and asked who he was throwing the gauntlet down to and what got his goat (for me it’s all the shouty-style guys who yell over the tracks in a blatant attempt to divert attention away from their pedestrian mixing); “As far as mix-tapes go, a lot of DJ cats seem to be doing the same things. Either you’ve got your

One of those few is Radar, a fellow ‘Bombshelter’ DJ whom he made an appearance with on the now legendary “Live at the Future Primitive Vol. 2” mix. The set is the two of them on five decks taking over twenty years of hip-hop history and blending it with funk and even rock to sublime effect. All done live as the title suggests in a club environment, with a crowd so loud you can hear them through the needles! I love that warts and all approach, unique joints not regulated by what are the current commercial club bangers are. Dee J a’La Fu, of “Treats for the Kiddies Vols. 1-2” fame, agrees that the market can get a tad stagnant. “I always remember in the space of a month in ’96 I heard tapes from DJ Enuff, Clue, Doo Wop etc, and everyone had the same songs, same arrangement, same shouts, same bad mixing. After that day I didn’t bother with any commercial tape. I don’t see the point of putting out a tape with the same old shit that gets played on radio, MTV, clubs etc. To me that’s not quite the point of a mix-tape.”

times I pick up, desperately search for or play out again a record because I’ve heard it on a mix-tape: Heavy D’s “Don’t Curse” thanks to Yoda. “Sardines” by The JunkYard Band sounded nice on that Z-trip tape so I’ll drop it at the club tonight. The list goes on. I think it’s time to check the underground again, and give support to the DJ’s who support it. Because that man, or woman (big up Kuttin’ Kandy), and their penchant for following the true innovators helps create unique ways of giving props, both to them and those who deserve it. I’m sure Bambaataa would be proud…well, maybe not, as the last time I heard him he was dropping UK garage in his set. Aww, fuck it, pass that new Flex tape with the hot new joint from his man Enrique Inglesias. WHUT! WHUT! D.J Moneyshot has a new tape available called “Word to yer Nephew”. And can be peeped by contacting him at oneoffthewrist@hotmail.com . Z-Trip’s Top 5 tapes: 1. Spinbad’s 80’s tapes…pure genius 2. Kid Koala…”I gotta rock”…more genius 3. Pretty much any mix-tape Mr. Dibbs does is usually a mutha fucker…so I can’t name just one. 4. Romanowski- the rock steady mix-tapes…best shit to listen to and I never get tired. 5. D.J Shadow and Cut Chemist - Brainfreeze/Product Placement ...these two are sort of the same thing so I’ll lump them in one…this is a favourite for so many reasons…first off it’s a concept (all 45’s). And I was lucky to be involved in the live shows, so I know the work they put into it. Second, it’s mixed so well and put together with such thought and skill that the minute I heard it I thought ”this is timeless”. No better way to make a mix-tape than to have something you can listen to 20 years from now and still feel like it can hold its own. Si G from Baldbeats Top 4:

It almost seems like some higher calling that the mix-tape DJ has. That they have to spread the gospel to the masses, schooling them to the real hits and the ones they missed. DJ and mail-order provider Dave the Ruf is one such missionary who offers alternatives to the heavily biased rotations on commercial radio; “I sell loads of records that people have never heard because of my “Ruff Beats” mix-tapes and especially 'Radio Zero', which basically operates as a new release radio show but on two C90 tapes, bi-monthly. A lot of records I have put on mixes have eventually been re-issued, or become established underground classics. This is what it’s all about to me. It seems all the shite hip-hop gets the big sales when the really amazing stuff exists and survives from this kind of underground hip-hop love.” Love indeed. It seems that a DJ’s blessing can save a record. Si G from Baldbeats offers one example. “Sometimes people hear a 12” cut that never really got any airplay, J-Live’s “Them That’s Not” for instance on Greenpeace’s (Yoda’s mix-tape partner) “Jew’s Paid” mix. That track blew up and then was bootlegged because J-Live was dropped by London.” I just think of the

1. Shadow and Cut Chemist- “Brainfreeze” (sets the standard from now on) 2. Krush- “Headz Tour U.K. “(fat old school mix) 3. Shortcut/Cut Chemist – “Live at Future Primitive Vol. 1.” (so on point) 4. Q-Bert- “Pre-School Breaks” (the ‘Rush’ break at the start kills me everytime) My Top 5 mixtapes: 1. Neil Armstrong- “Original” (a lovely concept tape, taking all the “original” samples from hip-hop classics and re-textualising them) 2. Coldcut- “Journeys by DJ” (all styles covered. Popularised the craze of using spoken word records.) 3. Kenny Dope- “Hip-Hop Forever” (not the best mixed, but shows that he didn’t forget his roots in this early 90’s selection” 4. Rob Swift- “Soulful Fruit” (a contemplative essay in rare groove with a nice battle against Rahzel too) 5. Spinbad- Any ‘normal’ tapes in the vein of “Clueless” by this veteran. From the intros to the doubling up you can feel the blood, sweat and tears that go into sounding so nice.

New website coming Soon

www.itchfm.com

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DJ MK

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DJ MK: Interviewed by Pete Real Words by Pete Real Photo by Jake Green Contact: emm_kay@hotmail.com

ON THE 1+2’S

was looking forward to interviewing MK as we go back a good few years. MK worked with me when I had Handspun Records below Dark-N-Cold clothing store in Soho, and came to work at Deal Real Records round the corner. We meet at Mr Bongos to take some pictures before sauntering round to our old ‘local’ to quaff a bevvie or two and get down to business. After discussing the merits of the ‘Sunday pasta bake’ and the way Willesden has changed over the last few years I get down to hearing the story of DJ MK, who was born in Harlesden, moved to Neasden, then ‘sunny’ Wembley, and now residing in ‘The Wood’ (that’s Cricklewood to you and I!). DRUGS That important first vinyl purchase for MK was ‘White Lines’ in 1983, when his mum thought it was a pro-drugs record. In a thick Irish accent MK remembers her reaction “Oh God, dere talkin’ about drugs”. MK got involved in the hip-hop culture soon after: “I started writing graf in 1985, I used to play football for a team called St. Andrews and we were playing the Chalk Hill Dynamo’s down in Chalk Hill Estate and there used to be this little hall of fame. That’s when I saw proper graffiti for the first time” LINES Were you on any particular lines? “Yeah, Big Met”

FUCKED So when did the DJing start? “About a year after that I got my first turntable, with like a built in amp. I learnt how to scratch on that. All of my first records are fucked ‘cos I didn’t know you had to have slipmats. So when you turn over it over, on the other side it’s all like really really fucked. I got my first set up of two decks probably two or three years after that. They were Soundlabs”. The conversation then trails off into how I swapped one of those decks for a Funkdoobiest 12”. In MK’s words;“Tell ‘em, good deal mate”. SELLING Having mastered pause tapes on his mum’s stereo from Westwood, Dave Pearce and Mike Allen radio shows, and now owning two decks, MK’s mixtape days began at college. “People used to come up to me and give me blank tapes, like ‘can you do me a mixtape?’ cos

they knew I was a good DJ; ‘Yeah, and I’ll give you a fiver, three quid’, so I thought why am I wasting all my time doing all these tapes? I’ll just do one tape and sell it around college”. MK took it further and started selling his tapes into shops - “...shops like Soundsource Records, Bad Apple and of course Handspun, which I reckon was about ‘93, that’s when I first met you. From there it just expanded, you would sell more, other shops would sell more and then I would sell ‘em in Blackmarket” LADDER Next step on the ladder was appearing on Westwoods’ radio show - “Westwood got a mixtape somehow and called me up. I was about 18, and I did mixes for his show on and off for about three years”. NICE In the college days, MK started to play out at college jams and house parties around West and Northwest London - “The first club I did was Central Park in High Street Kensington in about ’92, yeah, nice club”

was a wicked jam”. Indeed it was, with an array of guest DJ’s, and breakers forming circles. With a first class sound system it was good to see hip-hop represented lovely, topped off with the fact that there was always a real family feel as all the heads passed through. DRINK So how did you get to be Roots Manuva’s DJ? “It actually started in this pub. That was in ‘97 when I came to see you, dropped some tapes off in the shop (Deal Real), and Rodney (Roots) was totally bras, had no money so I was like ‘yeah let’s go for a drink’. So we both bought one pint each. We were talking about being bras, ‘yeah let’s hook up and do some shows. I’ll play for an hour, do some cuts an’ then we’ll do a show together for half an hour’. Then we did loads of shows for like fifty quid, then we got one hundred pounds, got five hundred pounds”. The success of Roots Manuva took them to many places, including a tour of North America. How did the American audiences take to an English act? “They’re cool, they’re into it, but they’re into it on more like a trendy level, on more of like ‘this is different’

“ALL OF MY FIRST RECORDS ARE FUCKED, COS I DIDN’T KNOW YOU HAD TO HAVE SLIPMATS” CONCERN In the mid-nineties MK set up his mix-tape business as a serious concern, selling not only his own tapes, but also American DJ’s such as Stretch Armstrong, Tony Touch and Ron G. He started a mail order service, sending out lists to hip-hop hungry punters. He came to work with me at Handspun records and started to push his tapes further afield - “Around ‘95 I started going to Paris quite a bit, like go over with a load of tapes”. He made the hook ups, including DJ Cut Killer, a big name hip-hop DJ, and ended up playing at jams such as the Janet Jackson after-party. BUBBLED In 1996 a new monthly hip-hop night bubbled at a club called The End, where MK was a resident DJ - “The Hop started in ‘96 and ran through to the end of ‘99...For a jam that ran consistently for four years, that

d’you know what I mean?’ Having said that, I’ve been to like fucking Crenshaw and people have bought the new CD, so there’s two sides to it”. MK cites the crowds in Montreal and Australia as some of the best he has played to, and Germany as the most unpredictable “...me and Rodney have done shows together and it’s been wicked, and other times it’s been like playing to a bunch of fucking dead people.” CHURN Inevitably for a top DJ, MK has turned his hand to beatmaking -“I’ve started making beats in the last six months, so I’m trying to buy studio equipment. At the moment I’ve got Lewis’s (Parker) 900 and my computer. But I go to other studios, I go to Harry’s (Love) to use his SP12, “cos I haven’t got a studio myself, just bumming off other people really”. Always the entrepreneur, MK wants to build a studio and start a label - “I’d really like to set up a label when I have the right money behind me to do it properly. I reckon in about a year’s time when I have a

good studio set up and I can churn out loads of beats, then that will be a good time to start a label” WICKEDLY MK’s first solo outing on vinyl was the recent ‘It’s All Live’ single featuring Supa-T, Jehst, Kyza and Harry Love on Stonegroove Records. MK was happy with that project -“Yeah, that done wickedly. It’s cool, it’s just something I wanted to get out there, get good press and put out a good record with a set of people I knew who were good MC’s, and good producers” Mission accomplished, me thinks. BRITNESS I have a wicked memory of the day, back in ‘96, when MK and myself trekked to a studio in Dalston, east London, to record a freestyle session for his legendary ‘London Allstars’ tape. In a smoke filled studio I witnessed the Britness with Rodney P, Skeme, Blak Twang and Roots Manuva. I don’t need to tell you about the sparks that flew. MK has now recorded a new freestyle mixtape entitled ‘London Underground 2002’ featuring among others Rodney P, Taskforce, Roots Manuva, Lewis Parker, Jehst, Yungun, Mystro, Skinnyman and Ricochet Klashnekoff. There’s also some exclusive tracks on it from the likes of Skitz and Rodney P, Lewis Parker and Tommy Evans has done his own version of Jay-Z’s ‘Girls, Girls, Girls’. I suggest you lay your hands on one of these pronto. ITCH It just wouldn’t be right if this man did not have his own radio show, which he has. Unfortunately you have to reside in big old Londinium to catch it -“I’ve been doing a show on Itch FM with A-Cyde called ‘The Show With no Name’ for the last two year,s and it’s going really really really well. We’re on every Friday, 10 till 12 midnight. That’s a really good outlet for me to just spin, just to do a two-hour mix” You can always catch MK on the first Wednesday of every month at the Itch FM night at the Underworld in Camden, north London. PHEW Phew, that’s a busy man right there! Pete Real

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RACK−LO

THIRSTIN HOWL III

Brooklyn

Thirstin Howl III & Rack-Lo: Interviewed by Dirty Harry Illustration by Anthony Parnell

HARD ROCKS BS: Firstly your thoughts on Jam Master Jay passing away like that? TH: He was definitely a pioneer to me and a big influence in music, I grew up in that era so a lot of these young kids didn’t know why he was being respected so much. It’s a sad thing. In ‘85 there was big rumour that he was killed for a gold chain, he had a big Jam Master Jay nameplate and everybody believed it. That’s why it was funny now. This time it was true. BS: Rack Lo, for anyone who hasn’t heard of you please describe your MC style? RL: My MC style comes from my lifestyle. The Lo-Life lifestyle. It's straight reality spitting (staying fly, taking papers, having a Lo-Wife, Lo-life larceny etc.), but I'm able to get my point across whether it's reality, conceptual, freestyle, whatever, I’m just a spitter. No holds barred, straight spitting. I incorporate a lot of life experience in my material, but I put a twist on everything making sure it's lyrical and hip-hop. That's what we represent - raw, energetic, groundbreaking, classical hip-hop. I'm from the early days of the culture so I understand the importance of grabbing the mic and saying something.

another. I mean the rich and the poor was effected. But on the real, it showed me that you have to really cherish your life and your family, and live your life to the fullest every second of the day. It's like you never know when something can happen. It's really made me a believer in the term "expect the unexpected". That's a day I will never forget. BS: What has been the greatest moment in your hip-hop career? TH: I think it was meeting the Spit Squodd members, like the day I meet Master Foul, Ricky Dallas, from ’95 on, everyone I met at different times. I met everyone battling, so it was crazy. RL: The greatest moment up to this point for me would have to be performing live in Sweden. Performing in Gothenburg, Sweden at Fatmilk has been one of the highlights for me thus far. It opened me up to a whole new world. I mean I knew hip-hop was global, but actually being in another part of the world and rocking live was incredible. I mean the fans came out in numbers, they packed the place, and it was definitely a classical event. From the fans, to the lyrics, energy, to the love we got... yo it was mind blowing... that performance went down in Spit Squodd history. BS: Favorite or last movie seen and why?

BS: Have you ever come over to the UK? And have you heard of any UK rappers? TH: Yeah been many times, I know the Colony; they came to Brooklyn to visit me one time. RL: Nah, I’ve never been over to the UK, but was definitely trying to get over there. As far as MCs go my man Mr. CRF is out of Manchester, he's doing his thing with the music, plus he got his own magazine. We’re definitely trying to book some gigs over in the UK. We’re down to rock the United Kingdom with that Spit Squodd/Lo-Life legacy, so all you hip-hop promoters out there get in touch with us!! BS: How has September 11th affected you and your community? TH: I don’t know what all the fuss is about, as far as the economy and all that, it didn’t affect the ghetto. Nothing changed in the ghetto, we didn’t give a fuck about it. We sorry for all the families and all that were, you know, effected by it, but as far as having an impact on the ghetto the most it had was like if you knew somebody who was in the building. Nobody give a fuck. RL: September 11th affected us in many ways. From losing friends and family in the trade centres, to being effected economically. Yo, that was probably the realest thing I ever seen in my life, where so much life was lost, property and families destroyed. It was horrible man. The day that happened, the entire city was on freeze. Everybody and everyone was effected one way or

TH: ‘Dance With The Devil’, saw that shit last night!RL: The classic ‘Shawshank Redemption’. That’s one of my favourites because it showed hope, strength, pride, tenacity and a will to survive. These are all things we’re having to experience or have in order to survive in the ghetto, so it was appealing to me. The guy who played the lead role was awesome. I also like it because it demonstrated how corruption was defeated by corruption. One man was able to turn an entire system into nothing and everybody paid the price. BS: What MCs out there would you love to battle? RL: Battling is our speciality, that's how it began for most of us, however I'm not on no mission to battle anyone, I’m more into making live music. Music that goes beyond battling. But that's how it started out for me. I mean, where Iím from that's all we had to do was battle, whether it was with lyrics or with guns or maintaining reps for being the flyest heads around. We battled all the time for street credibility and respect. It's a part of the hood. BS: Which battle has been the most enjoyable?

Contact: www.spitfactoryonline.com Tel: 718.930.6126 promotions@spitfactoryonline.com Spit Factory, PO Box 360282 Brooklyn, NY 11236

BS: What’s your perspective on other rappers out there like Nas vs. Jay-Z? TH: There’s a lot of jealousy, A lot of people trying to claim they in other peoples’ careers. As far as J and Nas go I think Nas is winning a little more, just because he’s not doing that much commercial stuff any more, he’s doing grimy thugged out music, Jay still does both but he’s a little more commercial music, man. That’s why Nas is winning overall. Of course I'm with Jay all the way, ’cause I’m Brooklyn!!! BS: If you were invisible where would you go and what would you do? RL: That's an ill question. First off I would expose myself to all information that was hidden from the public since man corrupted this world. Other than that with the way I'm feeling right now, I’ll probably launder as much money as possible man. I mean get fucking rich. Make it possible for the unfortunate to see, buy and experience the good life. Shit, life sucks in the ghetto. We trying to make it out of this shit, but we’re taking people with us and were gonna give back in a big way. The struggle is serious. TH: I’d go to the bank, (laughs) where else? I’m not gonna waste my powers on no bullshit. I’d go to the bank and clean the motherfucker out! BS: What was the last crime you committed? TH: I don’t remember these questions. RL: I stole a show!!! BS: What's your future plans for releases and what production are you working on at present? TH: Working with Dana Dane, working with Ruck of Helter Skelter, Lo-Life are doing a documentary, books, everything, I mean we are trying to come with everything and anything that’s able to be sold and marketed. RL: Currently, I have my new album feat. Lo-Wife. I'm working on two new albums for 2003, the first one is called “Aracknofoebia - The Art Of Webslinging”, and the second will be “Happy Lungz”. Coming soon as well will be “Real Life (The Dedication LP)” dedicated to my Mom who passed away on October 11th. BS: Lastly any last words and any big-ups? RL: Big up to Big Smoke Magazine and D-Harry, Lo-Wife, Lo-Kid, all Lo-Lifes on lockdown, Linda Faye Billips (RIP), the entire Billips family,

RL: For me it’d have to be classic battles like BDP versus The Juice Crew...or LL Cool J versus Kool Moe Dee.... to me those were real battles. Nowadays heads just talk, nobody's really battling like back in the days, in the early stages of hip-hop. To me a battle is more like two MCs meet, grab the mic and crush his or her opponent. Nowadays, it’s publicity stunts and talk.

Mr. CRF, Spit Factory, Unique London, DJ Pf Cuttin and the whole independent hip-hop economy... Thirstin Howl III “Skilligan’s Island”, and Rack-Lo - Out Now Rack-Lo “Aracknofoebia - The Art Of Webslinging”, “Happy Lungz” & “Real Life (The Dedication LP)” all out 2003.

BIGSMOKELIVE.COM

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✹G❑G✜ Numskullz To Grab A Mic RRJ

Return to top form from Bristol’s best, approaching their 10th anniversary and finally solo after their a few years of being at Hombre. The lead track is highly charged and beefed up with staggering beats and getting stabbed viciously by horns on this serious head-fuck anthem, breaking out in jazzy rough interludes and showcasing serious hardcore hip-hop methodology. Rola rips through each killer verse with his precise rhymes twisting round and clinging to the jumpy production… your neck just might snap with this action! After the atmospheric late night old school analogue styled boom-bap of ‘Hold it’, ‘I Don’t Know’ wrecks the show with a really spooky, slow and low vibe into which another expert vocal performance is wrapped round tight like a supermodel shrunk into Levi’s. Two very chunky full instrumentals showcase the beautiful beats and round off this truly great record by one of our under rated Truly Great Hip Hop Bands. Dave the Ruf

Diversion Tactics Influence " / School Thing" Zebra Traffic

First off "influence" is a dirty breakbeat roller with off key horns, over which MC's squeaky and chubby alcaholic express their old school ethos back to back with DJ Jazz T's cuts. The real treat comes in the form of "school thing" where chubby alcholic regesters him self in on a heavy hammond rocker with hilarious tales of school day antics that would make the stearnest of dinner ladies laugh givin you time to nip ' round the back of the bike sheds for a crafy burn. Diversion tactics have definatley applied themselves this term look set to be top of the class. A+ Jimmy Plates

TOMMY EVANS ME / YOU YNR PRODUCTIONS

Women. Can't live with 'em, can't live without 'em. Just ask Tommy Evans, who appears to be having all kinds of baby-mama-drama on his latest release. Over a jazzy head-nodding track courtesy of Evil Ed, Evans recounts the story of a relationship spinning out of control, complicated by the fact that the object of his affections comes with the added baggage of already having both a child and a heavy-handed boyfriend in her life. The emcee soon finds out that Naughty By Nature were indeed right when they warned us a decade ago about messing with O.P.P. I found the same thing out myself once. It wasn't pretty, believe me. The Harry Love-produced flipside "Silent Mobius" finds Tommy dropping some introspective lyrics alongside the talented Yungun. Harry's atmospheric beats perfectly compliment the duo's forward-thinking verses. Yet another strong release to add to the YNR back-catalogue. Ryan Proctor

Outdaville No Strings, Pay Dem No Mind Wishmaster White

✔✂ MC Pitman Witness The Pitness My Arse 2002

“Ya get meh?, I don’t think ya do get meh” All superheroes have a catchphrase and always have a sequel, and the MC with special coal mining powers is no exception. This time around ‘remixin’ last year’s biggest club banger courtesy of Mr. Roots esquire, with a mic in one hand and a cheese cob in the other, Pitman’s foul-mouthed toilet humour and disses are as hilarious as they are cutting with Adam F and the streets getting preferential treatment (the latter may have trouble trying to remove that bloody aerial). How long will the Pitman phenomenon last? I hope as long as there are crimes against hip-hop that need setting straight. Pitman to the rescue “yer virgin!” Jimmy Plates

Est’elle Excuse Me / Just B’ Cos Stellar Entertainment

The first thing that struck me when listening to the ‘Excuse Me’ promo is that Est’elle can sing, and not just in mediocre hip-hop terms, she has an outstanding voice. Combine this with her lyrics that have always stood out on featured material, and Est’elle could be the next big thing. The title track is a Fusion-produced gentle headnodder, with Est’elle reminiscing over her growing-up. Referring to conker fights, mountain bikes, British Bulldog, New Jack Swing and Nas’ ‘Illmatic’, you can’t help but smile and reminisce yourself. Skip forward one track and you come to ‘Just B’cos’ featuring Skeme - this is my favourite track out of the three, lyrically Est’elle and the ever-reliable Skeme gel together well. Est’elle shines on the sung chorus, which will have you humming along for days. This has a commercial feel to it, and given the right push wouldn’t sound out of place in the pop charts. For me the up-tempo remix of ‘Excuse Me’ is a little disappointing; while it’s nice to hear new vocals by Est’elle, Fallacy and Skeme, I feel using the original instrumental would’ve worked better. One thing that is evident throughout is the presence that Est’elle holds, she sounds down to earth and at the same time extremely confident, she proves with ‘Excuse Me’ that she is one of the hottest properties in the UK. Luke Biggins

PQ Jus 4 Her / La Coup D'Etat Heavy Handed Recordings

DJ Terror shows his sensitive side as he dips into the box marked "weepy horn lines" to give 'Jus 4 Her' a sentimental backdrop. I think PQ is borrowing the metaphor of hip-hop as a woman used famously by the rapper once known as Common Sense on this tune, but it's not made explicit. She "lives" in the US, he loved her from "back in the day" and she's older than him. I could be wrong, maybe he just has a thing for the more mature American lady. Who knows? Any hoo, a lovely slice of pathos made for Walkmans and walking in the rain. 'La Coup D'Etat' is the soundtrack to a stolen Vespa ride through the city at night. With its garage style beats and rapid vocals, PQ pulls the throttle back with scant regard for Her Majesty's Highway Code: "Watch me. Jack your ride and drive top speed" he warns with bravado. However along the way he pulls into a 24-hour Tandy to pick up a Casio keyboard synth line to give the chorus an 'anthem-like' weight. All in all a thrilling ride, if you like that kind of thing. DJMoneyshot

Si Specs Fly Like A Seagull Illicit Recordings

Cornwall’s finest beatsmith and one half of UK production duo ‘The Creators” (He’s the thinner one with glasses, geddit? Specs) Hits off with ‘A Musical Flight Of Fancy’ indeed, as this is not just a remix, oh no that would be far too easy. Si Specs takes us on a seven minute-plus journey through the centre of hip-hop, starting with a Gareth Gates-style stuttering sound system DJ intro that throws you into a smorgasboard of programmed beats, breaks, chopped up old school classics and even reworkings of the odd Beatnuts banga, complete with more precise cuts than Cher’s plastic surgeon (imagine a mix in the vein of the ‘Lessons’ series only far funkier for the deuce milli), this is gonna please the deepest of beatheads and old school throwbacks and with the Creators’ seal of quality, this wins hands down like Troon trouncing Lanner in the Cornwall county Beat-Baking Championships. Here’s to the live guy with glasses. Jimmy Plates

Quantic & Aspects "Primate Boogaloo" Tru Thoughts

Boogie down Bristols finest, Aspects once again drop their everenjoyable brand of west county vocal tom foolery, this time money based and over a dirty great slice of party funk courtesy of Quantic. There are enough mixes here to pass away the badger line bus journey from yeovil to frome, the LP mix should keep both B-Boys and dance floops happy enough complete with sheep noise edits, the quantic mix makersthings a bit more funkier for added rump shakin' action. If it gets all too 'big beaty' for your ass, the Evil Ed mix with its heavy bass lick, flips the track into a striped down headnodder. "Aspects got the funk, like the strench on tramps" so much so I think I'd better open the window and get a little air in here. Jimmy Plates

One. Onederful world. One Entertainment Not The Sleeve)

This crews heavy and made up from some of the most respected hip hop talent around that boasts Mr ti2bs,Ac,Archer, Edge , DJ excile , Guv’nor, Harvey dent, Michael Meredith, Pyrelli , DJ shux and the ever heavy Sway (runner up in the battle scars competition 01) . These headz are breakin ground and this e.p is proper tight .Theirs not a bad track on it. My personal selection would feature welcome the introductory track with phat beats a bad bass line ,1st class lyricism and heavy delivery , keep on searching another phat beat and we plan 2 .the production on this e.p is on point and the lyricism matches. Theres something for all the headz , so you’ll need a copy of this .for more info on ONE and release dates e- mail onederfulworldofone@hotmail .com DrGreenstick

Jehst Return Of The Drifter b/w Under The Weather ft. Asaviour Low Life Records

Taken from the album of the same name this is another gem from the High Plains geezer himself, and another shining example of ridiculous skills and a trained ear for a heavy drum pattern. The a-side transports you immediately back to the intricate ‘one-man-against-the-world’ territory that Jehst flips so well, with detailed emtional landscapes laid over a floaty piano beat with a killer bassline - for my money one of his best tunes. The flipside sees him team up with long-time associate Asaviour on ther funky down-in-the-dumps anthem ‘Under The Weather’. Some lively double-bass sets the tone for the pair to sing praises to all those stuck indoors with a cup of tea with the rain pissing down outside. Doesn’t sound like it’d work but trust me it does, this is heavy dancefloor fodder, all rounding off another quality bit of wax from one of the heaviest artists not just in the country but in the culture; ‘You out there doin’ this shit? You should be earnin’ a medal for this.” Grammar

Verb T & Harry Love / Showbitchness / Chester P The Wiccaman Theory Low Life Records

Taken off the various artists ‘Food’ compilation out in 2003. The a-side sees yet another Harry Love production job with a solid head nod rhythm over which Verb T wryly slags down the dirty side of the biz. A bit let down by a predictable chorus but made up for a by a great radio mix dropping in slippery cuts a bit like Slum Village’s “I Don’t know”. The real gem here is from the Taskforce member going solo with this different, intense flute driven masterpiece, which keeps his rhymes poetical and more imaginative than normal and completes his affirmation as not only a great MC but an accomplished producer as well. It’s this track and its bold instrumental that make this 12” worth hunting down for DJs well, well before the album drops. Dave the Ruf

Ricochet Klashnekoff Daggo Mentality / JankrowVille YRN PRODUCTIONS

Come like Britney Spears and get Speared" Announces the black russian on the intro to "Daggo Mentiality" already an underground favorite since the tracks first outting on last years "Wordplay 2" compilation. This Lewis Parker produced addictive nodder is now available on its own slab of 12" wax, giving those that missed out a second chance. Value for money is aided by the flipside "jankrowVille" a piano driven tale grime on the streets of Klashnekoffs native "Maze Eest" we also get a remix thrown in for good measure that adds a darker cinematic twist as well as the talents of fellow rhymer kyza to the action. In jankrow ville the lifts might smell of piss, but this records got more than a wiff of dopeness about it. Jimmy Plates Krispy Dress Back (2002 remix) / Bored to Death Damn Right

Like Ralph Mctell once sang "let me take you by the hand and lead you through the streets of"...Nottingham (well nearly) from the outset there's no mistaking where ya at “This is Notts" Announces Outda villes Big Trev. One of the UK's Finest the Magnus Magnuson rap mastermind” that is Scorzayzee starts us off on our journey and there no turning back. Next Lee Ramsey takes the batton and proves even with a sing-a-long chorus that he can flip as rough as the next man.The next man being himself as a Ramsey & Scors lace the wildstyle theme back to back with the twist of Mizz Reds harmonics ( yes fellas 'all that' and she sounds good too) with all this crammed into a three track whistle stop tour, you'll be glad you went even if it was only for twelve minutes or so.Ya'll come back now ya hear! Jimmy Plates

Natty & Dwella feat Skinnyman & First Rate UK Nightmares / Move up Time DefCon Records

White label bizness from Defcon Records which is out now features Skinnyman and Mr Thing, some bangin’ guests you could say! Taken from there forth coming Natty & Dwella LP.. “UK Nightmares” does give you nightmares and the other track “Move up time” makes you bounce up and down. Is it good ? Go cop It and find out!!! Mr H

Apollo Think/ Nar Not me HeadNodd www.headnodd.com

“I heard you rhyme on garage beats”, Nar not me! “I heard you have 7 baby mothers” Nar not me! “I heard you making animal porn”, Nar not me! “I heard you die your hair purple”, no Nar not me! This one is one of my favourites from last year, both tracks make you headnodd, ”I don’t pull triggers,I pull skinny females strawberry pickers when apollo autograph nickers! “ Don’t think about it, buy it!! Mr H

Krispy have consistently come with the quality since day one, and this is no exception. Ty is brought in for the upbeat ‘Dress Back’, where verbals are traded at a highly impressive ‘lyrically extra quick’ pace, without losing any clarity or even the slightest slip in the flow. ‘Bored to Death’ is an impassioned plea for homegrown talent to be recognised both on the radio and by the public. ‘Germany and France are cool man, it’s only here’, they point out. Rectify this shameful state of affairs and get yourself a tasty joint in the process by picking this up. Nemo

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✹G❑G✜ Numskullz To Grab A Mic RRJ

Diversion Tactics Influence " / School Thing" Zebra Traffic

TOMMY EVANS ME / YOU YNR PRODUCTIONS

Outdaville No Strings, Pay Dem No Mind Wishmaster White

✔✂ MC Pitman Witness The Pitness My Arse 2002

Est’elle Excuse Me / Just B’ Cos Stellar Entertainment

PQ Jus 4 Her / La Coup D'Etat Heavy Handed Recordings

Si Specs Fly Like A Seagull Illicit Recordings

Quantic & Aspects "Primate Boogaloo" Tru Thoughts

One. Onederful world. One Entertainment Not The Sleeve)

Jehst Return Of The Drifter b/w Under The Weather ft. Asaviour Low Life Records

Verb T & Harry Love / Showbitchness / Chester P The Wiccaman Theory Low Life Records

Ricochet Klashnekoff Daggo Mentality / JankrowVille YRN PRODUCTIONS

Natty & Dwella feat Skinnyman & First Rate UK Nightmares / Move up Time DefCon Records

Apollo Think/ Nar Not me HeadNodd www.headnodd.com

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✹G❑G✜ Black Twang Kik Off Bad Magic

No other warm up intro track better than this at the moment!!. We all know the title track and the wicked ‘Tricksta’ feat. Estelle, well things get even hotter with ‘So Rotten’ feat. Jahmali which has a sort of an uplifting feel. ‘Some Ah Dem’ aims at certain bods who are too ‘lie’ and ‘red eye’ all explained in a range of vocal styles. ‘Fire Power’ is a definate head nodder with an addictive riddim and complex flow. ‘Half and Half’ feat. Mystro is straight up beats ,rhymes and rhymes while vow speaks about the faithfulness of so called true hip hop heads. ‘Dirty Stop Out’ exposes the ‘dutty gyall’ who are just too nasty! ‘Aint Done Too Bad’ has a real nice jazzy vibe and conscious comical lyrics. ‘Its Happening in England’ is moody tune that has stylish ragga mc Seanie T and cockney MC Karl Hind’s droppin skills, before ‘Blood and Fire’ stomps thru with an anthem type feel. .Rounding off is ‘Public Order’ finishing as energetic as it started !! There’s also a hidden track that’s as ruff an tuff as any of the other ones. Good varied selection. Mr Wiz

Creative Control Left Country Creative Control Music

Hip-Hop culture has always been very prominent on Britains West Coast, with thriving scenes in areas such as Bristol and Cardiff. Creative Control are yet another product of the West Coast, representing their home town of Swindon, and the aptly named ‘Left Country’ is their debut long player. The mastermind behind Creative Control is DJ/producer Benone, with DJ Para and MC Cello completing the collective, however outside help is also called in with guest vocals from Numskullz, Lexis, and Tommy Evans. Of the sixteen tracks that feature on ‘Left Country’ half of them are instrumentals with no vocals, however Benone has produced some interesting and original beats, the pounding ‘Cascades’ being the most notable. Cello holds down the majority of the album’s vocal duties and proves himself to be a very capable MC, riding each beat well and bringing intelligent concepts to the table. On ‘Collectiveí he rhymes’ line we living on, sheeps keep following on, hollow minds not getting on, population increase, could turn man to beastî. These are lyrics I’m sure that most would agree are very relevant for the days we are living in. YNR Productions MC Lexis also warns us not to challenge the system on the Company Flow-esque ‘Perfect Abuse’, whilst Numskullz drop more optimistic rhymes on ‘Communication’. It’s obvious that a lot of heart and soul has gone into the making of ‘Left Country’, although I fear that it won’t be fully appreciated and for many will serve as nothing more than background music. Ollie @thecrateestate.co.uk

Tomo Many Demo LP

For the UK scene to expand it needs to evolve. Whether this statement is true or not many acts are trying something different, Tomo is a good example of this. The production at times is excellent, futuristic sounding beats fill the majority of the album. Lyrically Tommo ain’t bad either. His style sometimes comes across as a little ‘Americanised’ but it’s not because of his accent, his sound reminds me a lot of Boot Camp Click and Heltah Skeltah, that’s probably why I make that comparison. The problem I find with this album is that it tends to grate, at times it seems to try too hard, with a few tunes coming off as annoying. Tommo gets full marks for creativeness, however less grunts and grawls would be welcome. This is not to say the entire album is like this, there are some real good tracks; the Joe Buddah produced ‘Sky Fall’ is wicked, as is ‘Shit Changes’ and the opening track ‘Chrome Mics’. As I said before, Tommo get full marks for being creative, ‘Many’ is a solid enough effort and with a little work, good things should follow. Luke Biggins BORO 6 Vol 2 A Dynasty Truly Like No Other Fas Fwd

A Dynasty finally now out, Brixton back in the house. This album includes stand out tracks Hold Strong and BreakFree both featuring Est’elle. Scor zay zee, Intenz, MCD are also on this solid release. For more info email info@fasfwd.com Mr H

N✷✂ D J Vadim USSR: The Art of Listening Ninja Tunes

Hold tight, cos Vadim’s conjured up another dose of Russian percussion to educate our ears, and believe me this is a heavy dosage. Not since Skitz’s ‘Countryman’ have I seen such a well-rounded full on hip-hop package, with different tracks for different people and a wide range of diverse and originally produced beats. The artwork of the album is enough to make you buy it, it’s like a decent rave flyer, you can tell it’s gonna be good just by looking at the design and the line-up, which includes some reliable favourites like Mr Thing and Taskforce delivering deadly blows as ever, as well as some proper lyrical content from Phi-Life Cypher (a track which everyone should listen to, and take on board!) Track 13 (not shady) featuring French crew TTC sums up ‘Líart d’Ecouter’ by proving you don’t need to understand all the lyrics to appreciate how good the flow is. The last track on the album featuring Slug finishes things off nicely, leaving you well satisfied and content that there is still hope for hip-hop, and that you haven’t been skanked by purchasing a wack LP featuring bellends you can’t relate to. My advice is to take note from the intro, bill up a fat one and heighten your perception. Turn your TV off and your sound system on, sit back and appreciate the art of listening, as oppose to watching the art of lying! Mr V

MC Unique King Of Linguistics Rap Junkie Records How many people know of an emcee from Newcastle? One who’s signed to an independent label? From L.A? Not many you’d imagine, but maybe you’ve seen the advert proclaiming; “The UK has a new hip-hop powerhouse”. Unique’s album has three main themes; “love” “Getting respect” and “keeping it real”, and we can see that unique yearns for the respect that he feels he deserves and, with more work, may one day achieve. The beats are very well produced throughout KOL, and it contains some strong tracks like “Gotta Keep It Real”, “Searching For a Piece of Mind”, and “Inner City Blues”, although at times MC Unique’s delivery falters as his aggressive tone stumbles, and the inclusion of several 2pac-esque tracks is counterproductive. The irony of the release is that MC Unique doesn’t keep it real to his UK roots, as he rhymes with an American accent, and “Unique” is quite a misnomer as his rhymes, music and topics are similar to the majority of rappers out, but that’s not to say you won’t enjoy the album, as at times it does deliver. Latest news is that Unique has abandoned his fake twang and is now rhyming Geordie on all future releases, bonus. Andy Aberration

Harmonic 33 - LP Kaleidoscopic Sounds Alphabet Zoo You thought that whole downbeat hip-hop instrumental thing had been done? Well you'd be right (aren't you clever). It seems that no-one told the Harmonic 33 boys. And all's the better, because they've created an album that's lush, warm, dreamy... well any adjective you can think of to describe an early evening in bed with a Horlicks laced to the hilt with cough syrup. It's part Aim, part Nu-Pete Rock, part Avalanches...you get the picture. The only gripe is the absence of any vocals. You need a Guru or Funky DL up on this, riding the jazzy loops and tinky-tonk piano scales. Still there is some original scratch vocabulary courtesy of Danny Breaks, and plenty of forgotten 1950's style harmonizing drifting into the mix. Nice. DJ Moneyshot

Breakin’ Bread The Deadly 7” Sins Breakin’ Bread Records

A collection of underground gems from the boys at one of the capital’s most successful hip-hop nioghts, Breakin’ Bread. Like the night the album album brings the funk from the very start with a selection of breaks, hip-hop, funk and some heavyweight open mic recordings from various bashes in the past - Mystro, Kope, Kashmere, TMO and A.M. all display what the art of freestyle is all about. Elsewhere are all the usual Breakin’ Bread suspects; Rob Life, Quantic, Beats In Progress and Colour Climax on the boards with some choice guest spots from Cappo, DPF, Mad Flow and more, all well put together and with a real live vibe that fans of the night will know and cherish... you can almost smell the kebab in Kope’s hand... Well worth checking for, and a good opportunity to catch some strictly limited releases the second time round. Grammar

Exile Eye Pressure Points Equilibrium This release comes as a real surprise, and certainly serves as an example of the popular adage "don't judge a book by it's cover". The production on this album is interesting, and features beats across the hip hop spectrum from raw beats and loops to ambient, ska and bouncement and even drum and bass influences. You won’t like every beat on this release, but your bound to like one or two. Initially the Mcing threw me, Exiles slower single paced flow , and simple rhyme patterns didn't immediately engage me, but by half way through the first song I'd got used to it and started enjoying it, unfortunately it didn’t hold my interest through much of the album. The diversity on this release is a double edged sword; At times the varied sound helps the album, but it also makes it a very awkward listen, especially with the average and slow paced MCing. To my mind the best cuts are the opener "Juggernauts" and "Forward On" where the beats are superb, with Exile shaping his cadence to fit the music. A challenging release, although not particularly engaging. Exile Eye’s local Dublin scene may just eat it up though. Dave Paget

Moorish Delta 7 The Power & The Glory Seven Entertainment

Back in 2000 Birmingham based Moorish Delta 7 unleashed a banging EP ‘The New Empire’, a record that featured the excellent ‘Silent Screams’ and ‘The Art Of Survival’, both of which were heavily rotated on Westwood’s Radio One Rap Show. After a long wait, the crew finally hit us off with their highly anticipated debut album and I’m glad to announce that they’ve blessed us with more of the same hard beats and grimy street tales that made them so addictive on their earlier material. Although at times the album can be a bit hit or miss there is plenty to be happy about with Cipher Jewels, Malik, and Jawar all spitting hard on gems such as ‘Power’, ‘’Time’, ‘Rowdy’ and ‘Glory’. Their latest single ‘Don’t Leave Me Lonely’ is also a standout, featuring an infectious hook that could possibly earn them some commercial exposure, and those without turntables will be glad to hear that the two lead tracks from the vinyl-only EP both feature on the album. Moorish Delta 7 have also called in a number of guest appearances with the most notable being ex-London Posse emcee Rodney P on ‘Where We From’, a track which serves as a reminder that Hip-Hop is alive and kicking outside London. At twenty tracks deep ‘The Power & The Glory’ is an album, which certainly offers good value for money with the crew bringing a number of styles to the table, meaning that all tastes should be catered for. This Birmingham collective have done themselves proud, having delivered an album that is socially conscious, whilst retaining a street edge. Ollie @thecrateestate.co.uk

Killa Kela The Permanent Marker Jazz Fudge

Multivocalism is the new term for the fourth and a half element: that of beatboxing, or making music using ‘sounds sourced from the human voice’. The immediate question is not whether Kela has skills, because to deny his supernatural talent would just be lying. The question is whether a whole album of it makes it across the chasm of gimmickry. Yeah it does, and easily, and this is due to Kela’s abilties not only in making the noises themselves, but also in composing, arranging and producing across an impressively wide range. There is one quite perplexingly wack skit with Normski, but the work that has gone into polishing each track here really has allowed Kela to display his ridiculous versatility, showcasing everything from straight up hiphop (feat. Fallacy and Akrobatik) through stomp-down beats and a full palette of drum and bass styles. Vadim even steps up on the CD bonus track to deconstruct a wimbly one. Even so, the album concentrates on quality over quantity, only just making it to lp length.Even Kela’s voice alone was never going to be enough, and so he does subtly introduce turntables (feat. Mark Hype and Plus One), keys (The Audio Cooks) and even at one point (sin of sins) an 808 bass drum to fully flesh out the tracks. Beatboxing is never going to make machines obsolete, but the levels of love, creativity and craftmanship here are obvious. If beatboxing as an album genre was a toddler before, this takes it to a point where it gets a dope new bike for Christmas and peddles off to check the hood. Nemo

More reviews on Bigsmokelive.com

Doyen-D Game Street Legal Music It’s the return of the Mack... Deezal, that is. The foul-mouth yoof we all know and love to hear finally lets rip a ripper of an LP. Mr. Doyen really puts his back into all he does, and this album lets us see how this model citizen ticks - on some of the tracks Doyen comes with a new style, a more gravelly flow, that gets more comfy to the ear every time I hear it. Every track commands your attention, and the production stands out like Rik Waller at a midget’s meeting for small midgets...(it’s late, forgive me!) Outstanding tracks for me are ‘Underestimated’, ‘Northern Conquest’, ‘Thik Az Theevz’ feat Pri-cee, ‘Break’n Tha M.I.C’ and the posse cut ‘Thug Energy’ starring... wait for it... Lee Ramsey, Scorsayzee, Bungle, Jr. Disprol, Cappo, Tommy Evans, Late, Jibbarish and Usmaan, along with DJ Superix and Danielson. It’s gonna leave a taste in your mouth. Blokey

Lewis Parker It’s All Happening Now Melankolic Records

His first album ‘Masquerades & Silhouettes’ is a bonafide classic and his underground releases on various labels since 1993 have been consistently heavy, so what of this, the cloud-stepper’s second album on Melankolic? ‘It’s All Happening Now’ starts as it means to go on with some killer joints to open with, reminiscent of the classic L.Parker style but with new-found energy and aggression, and by the time the sublime ‘Comunication’ with Jehst kicks in you’re already well away with the musical fairies that Lewis keeps in his pocket. Some star guest appearances break up the flow of this twenty-four track effort with devastating results; Jehst, Supa-T, Blade, Ricochet Klashnekoff, Kyza, A-Cyde, and even Profound (nice to see) all rip the mic device at every opportunity, and by the end of the album the mood has descended into one of space-age espionage and intense moodiness. One of the best albums you’ll hear this year, so don’t waste time sitting in this shithole - go lose yourself in the clouds again. Grammar

Diversion Tactics Pubs, Drunk and Hip-Hop Zebra Traffic

I really enjoyed this. The title track sets things off the right way, the chubbyalcoholic sounding self-assured throughout, then ‘Pounds And Cents’ completely kills it (although their American collaborators do dominate the track). The production is crisp throughout the album, the instrumental tracks sitting comfortably between the vocal tracks, and this is enjoyable from start to finish. The vocal deliveries, whilst not flawless, have strong character and ride the beat well. Barron ACJ and Squeaky da Rixter (nice name!) both deliver their rhymes with conviction, and the production from Zygote and Jazz-T is nice throughout, the varied yet consistent drums sounded nice on hi-fi and headphones alike. There's plenty here to listen to, and thankfully there are no real low points, in fact I really do have to mention the last track ‘Roll Call’, an excellent way to end an album. Pick it up, and play it to your mates. Dave Paget

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✹#✫✰✶✂/ ✹✬✳✬#✺✬✂✳✰✺✻✰✵✮✺

Advertising the Invisible 'Exotic Logic' EP / 'Hiding in the Spotlight' LP Sampler Evil Genius

When it comes to production the UK is streets ahead of the yanks (and I'll outstare anyone who thinks I'm wrong!) ‘Advertising The Invisible create soundtracks for movies that haven't been made yet'... it’s their words, and I couldn't put it any better. All of the tracks on both the EP and the LP have a gritty, dirty, funk edge to them, and with the carefully placed vocal samples it’s a real treat to hear deep-rooted talent in its raw form. I would love to hear some good emcees on some of their beats, (hint, hint!!) Groups like these are like male Chinese porn stars ...rarely seen. Dave Paget

More reviews on Bigsmokelive.com

Jammin Presents Middle Eastern Recordings Promo Extremists Promo CD EP

One dark day down Brixton High Street I purchased a copy of the Extremists’ haunting single ‘No Tears’. This immediately placed itself in my classic pile. It’s over a year later and I have an untitled Extremist promo handed to me for review. Now whether this is going to be an official promo or an E.P I have no idea, I’m reviewing it anyway. ‘We came to smash this show’ rings over the chorus for the opening track - I’ve heard the Extremists perform this live many times. This track is uptempo, headnodding and contains a cowboy-sounding sample, reminding me of the old Western flicks. The next tune ‘Champagne Bottles’ has a futuristic sound and some nice lyrics, describing a night out with Extremists. I wasn’t too keen on this one at first, however it soon grew on me and I found myself humming the chorus. The next two tracks I’ve not heard before, the production and lyrics are heavy on both though. This untitled promo concludes with ‘The Sounds of London’; if you’ve seen the Extremists live you’ll know this track, it has a lot of energy and a catchy chorus. Sub Zero and Shooting Star have a distinct flow, their South London accents are obvious and the production a little different. This unofficial promo, probably a collection of tracks that will not appear together, is good and with a little bit of work could be great. Watch this space. Luke Biggins

Phi-Life Cypher & Taskforce The Chosen Few EP Jazz Fudge

Take arguably the two best hIp-hop groups in the country, Taskforce and Phi-Life Cypher, and this is what happens. Due for release some months ago, 'The Chosen Few' E.P is finally here and the wait was definitely worth it. Kicking off with the Farma-produced 'Want It So Bad', this killer track is a heavy way to open an E.P. Nappa ups the tempo with 'Who's This' and 'Showtime' leaving Farma to return with the haunting 'Little Miss Waterworks'. As you would expect from these two, the production is tight throughout and as you would expect from the rappers on hand, the lyrics are untouchable. Phi Life Cypher's distinct flow mixed with Taskforce's sinister lyrics combine for a chilling sound. The Farma tracks are darker, with the concluding 'Little Miss Waterworks' bordering psychotic. Nappa's production is more bouncy with sample-heavy, 'Who's This' standing out. Luton's finest, Phi-Life Cypher have never sounded better; they flow with their usual confident flare, dropping metaphors galore. Taskforce's lyrics have always been more thought provoking, Chester P and Farma G never disappoint and this is no exception. It's been a long time coming but 'The Chosen Few' is here, make sure you pick up a copy. The best release in some time. Luke Biggins Natural gift The Professionals Buddy Green

I know I sounded like I when over the top in the last Big Smoke mag with the review of the Natural gift ep, but this new ep proves me right ( again ).The three man crew have one of the most tidy sounding EPs I've heard in yonks, are the combined talents of Mistarick ( rapper ) , Kessler (beat-raper) and P-Skills (cuts) thefutureofukhiphop...I'l putmymoneyonit.AllthisheadnoddingismakingmeQueasy!! Blokey

This release consists of 12 tracks, 6 of which are instrumentals, 5 are vocal tracks, and 1 features a cut up of the word “Jammin”. The main musical theme of this release is one of middle eastern sounds, although Acoustic guitar, piano (and some jazz and big band) samples are also present. The instrumental tracks are all interesting, and easily hold their own next to the vocal tracks, which feature either Humurak or Blak-Trix. Humurak’s lyrics are a mixture of aggressive battle rhymes and clever comments on his own situation in life, although his delivery is sometimes a little loose. Vocally he reminded me of a strange mixture of Chester P, Turroe and Lee Ramsey, if that’s possible, stating “I’m an angry man, that’s why I Raped Jammin’s dirty beats”. Blak-Trix is a confident MC, with decent lyrics, and a well-structured flow, and a rugged distinctive voice. Overall this release is strong. Jammin’s production is the real star, although Humurak and Blak-trix do well to wrest our attention from it on their tracks. Dave Paget

Buttercuts "Saturated EP" Buttercuts

Three tracks deep, this ep is well worth picking up if you want to hear some straightforward London hiphop. South of the Border from Code:Breaker is a definite banger with a bassline that reminded me of elements of Pep Love’s “fight club”, it’s an ideal track for getting you amped in the car on your way to a club. State of Catastrophe from Uncle P, featuring Code:Breaker, Wildeye and the Cultural Chameleon is another head nodder, and danceable too, with an excellent use of piano to push it all along. There’s even a verse in French in there. Live by the Sword from Code:Breaker has an entirely different vibe, a much darker sound, and the vocals see Code:Breaker adopt a style reminiscent of Skinnyman. It’s still a good tune, but sits slightly at odds with the other two tracks, though this offers another mood, enhancing the releases appeal. Overall I’d recommend this, so keep your eye out for it. Dave Paget

Blood and Jonez – Spare A Little Change E.P. Deprogrammed Productions

If you like Heartfelt, well considered lyrics over emotive production then look no Further than Blood an Jonez. Far from being clones of the current styles and schemes, these two have taken a step back to take two steps forward, arriving with a pleasant alternative to the current trends. All six tracks are well produced, the stand out being “Look How We Bleed” which is based upon one of most beautiful and melancholy samples I’ve heard in years. At times their lyrics and flows sound simple and unpolished when compared to the advanced lyricists of today, but Blood and Jonez have simply acknowledged their current abilities and limitations, and crafted a stronger release because of this. It hasn’t been recorded in a state of the art studio, but if you can get past that fact, there’s plenty to enjoy. Dave Paget

LATE NIGHT SESSIONS (KISS 100 FM) (DJ Skully) Mon 02:00 - 04:00 Frequency: 100 FM London http://www.kissonline.co.uk ITCH FM Weekends Fri -Sun Frequency: 105.15 http://www.itchfm.com 1XTRA ORIGINAL FEVER (Rodney P & Skitz) Mon 19:00 - 22:00 - TALES FROM THE LEGEND (DJ Excalibah) Thurs 22:00 - 00:00 - THE SATURDAY MIXTAPE (DJ Semtex) Sat 19:00 - 21:00 Digital: Channel 859 http://www.bbc.co.uk/1xtra ALL CITY HIP-HOP SHOW (XFM) (Zane Lowe & DJ Greenpeace) Sat 00:00 - 02:00 Frequency: 104.9 London Digital: Sky Digital Channel 864 http://www.xfm.co.uk HITMEN (CHOICE FM) Sat 03:00 - 06:00 Frequency: 97.9 FM London http://www.choicefm.net WESTWOOD (RADIO 1) Fri 21:00 - 23:00 & Sat 21:00 00:00 Frequency: 97 - 99 FM http://www.bbc.co.uk/radio1 CHUBBY KIDZ (KISS 100 FM) (Shortee Blitz & Big Ted) Wed 22:00 - 00:00 Frequency: 100 FM London http://www.kissonline.co.uk FRIDAY NITE FLAVAS (CHOICE FM) (279) Fri 21:00 00:00 Frequency: 96.9 FM London SUNDAY NITE FLAVAS (279) Sun 21:00 - 00:00 Frequency: 107.1 9PM-12 http://www.choicefm.net HIP HOP HANG SUITE (3 Style) Sat 00:00 - 03:00 Frequency: 102.2FM http://www.galaxy1022.co.uk KEMIKAL KAOS (Riz) Fri 18:00 - 19:00 http://www.radiomagnetic.com

Aerosolik Records - Taken From Web Radio Aerosolik Records Corrupt Village Records - The Collective Corrupt Village Cappo - Spazz The World Creative Control - Left Country Creative Control Badmeaninggood - Roots Manuva - UD D.S.P. - In The Red Ninja Tunes 57th Dynasty - 'Boro 6 vol.2 - A Dynasty like No Other' – Fas Fwd Daddy Jaes - Instant Mentals Café Recordings Delegates Of Culture - Headcleaners 02: Headcleaning Headcleaners DMC Presents Plus One LP Diversion Tactics - Pubs, Drunks & Hip-Hop Zebra Traffic DJ First Rate - Walkie Talkie Indie Futura DJ Format - Music For The Mature B-Boy Genuine DJ Vadim - U.S.S.R: The Art Of Listening Ninja Tunes Double U - 2Double02 Wamm Doyen-D - Game Street Legal Music Eastborn - Word Perfect Dropzone Records Est’elle (titlle tbc) Exile - Pressure Points (equilibrium) Faruk Green - A Certain Mr. Green Copasetik Fingathing – Superhero – Grand Central Genaside II -Return Of The Redline Evangelist Copasetik HKB Finn - Vitalistics - Son Harmonic 33 - Alphabet Zoo Jeep Beat Collective - Return To The Classics Ruf Beats Jeep Beat Collective - Technics Chainsaw Massacre Bomb Hip-Hop Jehst - Return Of The Drifter Low Life Killa Kela - The Permanent Marker Jazz Fudge Lewis Parker - It's All Happening Now Melankolic Life’s - Everyday Life’ - Zebra Traffic Lotek Hi-Fi (title tbc) Big Dada Low Life Records - Food Low Life Mark Rae – Rae Road - Grand Central Mackie Sillz - Maximus Wamm MCD – Entrapment - Ronin MC Unique – King Of Linguistics Rap Junkie Michaelis Constant - Gondwanaland - Temple Remote Mixed Nutz Vol.2 - 27 beats entertainment Moorish Delta 7 - The Power & The Glory Seven Entertaiment Museum - Museum Museum Natty & Dwella - The Thought Process Defcon Rodney P - The Future Riddim Killa The Nextmen - FM - Scenario Tomo - Many Demo LP Urban Kulture - Pias Recordings Undercurrent - Sons Of Celluloid OST Same Brain Various - Extra Yard: The Bouncement Revolution Big Dada Wolftown Committee - Legendary Status Wolftown Recordings Westwood 3 - Def Jam

12"s Apollo - Think b/w Nar Not Me Headnodd Blak Twang ft. Jahmali - So Rotton Bad Magic Blufoot ft. Scanky & Infinite Livez & - Hazardous Material Camshot Bury Cru - Put Your Mics In The Air Graveyard Clean - I'm Losing b/w Twist Indie Futura Critically Ill - How Do Ya Feel? b/w Ill Wind Blows Sudden Debt D.Tonk ft. Paradise - Pray FukDup Records Daddy Ash ft. Skeme, Skinnyman, Class A, Late & Eastborn - Spaghetti Junction (Part 2) b/w Devil's Peak Abduction Entertainment Dama James - All Mine (U Have To Be) Potent Music Deadline - Drugs, Drugs, Drugs White Label Defesis & Infinite Livez Earth Time b/w W Emceeme Big Dada Def Tex - Dancehaul'/'Motivate' - Son Diversion Tactics - Influence b/w School Thing Zebra Traffic DJ Format - B-Boy Code Genuine Doc Brown ft. Yungun & Harry Love - Out There b/w Sometimes (Good Feeling) Janomi Dom P ft. Ed OG & Fallacy - That's Whassup b/w Slow Rinse Wordplay Doyen-D - Durdy Durdy Street Legal Music Est’elle - Excuse Me Stella Entertainment Filibuserz - Bounce, Manyana b/w Cha Cha Cha Self-released Fallacy ‘Jackin for Beats’ White Funky Fresh Few ft. Wildflower, Stradegy & Sinista - Heavy Hittin' Grand Central Gadji - Gadji @ The Barrio b/w Do My Work Pumastrut Gamma - Killer Apps Big Dada Ghost - Staircase To Stage (Remix) Self-released Hazo ft. Captain Moonlight - Trippin' Through My Dreams b/w Born Rebel HKB Finn - Motion Fitness b/w In The Stillness Son Records Herbaliser - Time to Build Feat Blade IronBridge - U Can’t do it - Ironbridge Jehst - Return Of The Drifter - Low Life Joe Buhdha - Freestyle Frenzy K-Cire - Black Lotus Raw 4 Real Lewis Parker - Incognito Melankolic LG & Lopez ft. Jehst, Skriblah & Yungun - Rocket Fuel b/w City Breaks Sit Tight MC Pitman - Witness The Pitness White Label MCD - Love thing feat. Noel Mckoy/Biters' - Ronin Minority Rules - Don’t Stop Invizible Circle Microdisiacs - ‘Deep Waters’,From Now’ - Dominant 3rd Rec Monk Brothers & Skeematic - Waves b/w Soul Vibration Mud Family - Nuff Tings White Label Natty & Dwella ft. Skinnyman & Mr. Thing - UK Nightmares Defcon Nightmares on Wax feat Rodney P & Roots Manuva Omid & Topology - Shouff b/w We Rock Pumastrut Outdaville - No Strings / WishMaster - Outdaville Rec - White PQ/Pique - Jus 4 Her b/w La Coup D'Etat Heavy-Handed Recordings Pitman - It takes two – Paradise & D.Tonk - "Pray" (fukdup) Phi life Cypher -12” ‘Over’ b/w ‘Cypher funk’ - Zebra Traffic Quantic ft. Aspects - Primate Boogaloo Zebra Traffic Ricochet Klashnekoff - Daggo Mentality b/w Jankrowville Y'N'R Ricochet Klashnekoff - Murder / Parodise feat Kyza & Skribla - Kemet Rira - 25 O'Clock b/w Liquidized Demons All City Rodney P - Riddim Killa b/w A Love Song - Riddim Killa Rodney P, Mystro, Braintax & Farma G Roots Manuva – Yellow Submarine - UD S.E.S. Crew - Can't Find Me b/w Dutty S.E.S. Entertainment Semantix Tha Sorceror - Semtex Semantix Gnostix Shameless - U Never Know Dat Sound Shadowless presents – Defisis/Infinite livez Earthtime/Emceeme - Big Dada Sway Dasafo - On my own/Why? Skitz ft. DJ Die, Rodney P, World Of Dynamite & Tali - It's On b/w Clipz (Remix) Wordplay Scank, Livez & Blu - Hazardous Material - Camshot Task Force - 'Fugs R Us' - Low Life Thee Absent - Magic Mondays b/w The Gym Café Recordings The Colony - Do it! / Too advanced - Ottoman Elf Music Tommy Evans ft. Yungun - Me & You b/w Silent Mobius Y'N'R Verb T, Harry Love & Chester P - Showbitcness b/w The Wiccaman Theory Low Life Trixsta Records - Oh My Giddy Gosh b/w Sexy Girl Trixsta Usmaan ft. Ricochet Klashnekoff - Stay Focused b/w Who Want It Y’N’R Wan-C - Grey Skies b/w The Anthem Prodigal Son Entertainment Zaire Black & June 22 - Life: Work It Out Pumastrut EPs Aerosolik All-Stars Next After First EP Aerosolik Records Beat Route 38 - Miles To Run EP ???? Beefeaters - Can Of Worms SFDB Big Critz & Menace ft. Hoodz Underground - The Hard Copy EP Trackshicker Buttercuts - Saturated EP Buttercuts Carpetface - Friday Night Sniper EP Newbias Industries Dark Craftsmen - Creep Show EP UK Rap Records DJ Bias - Worry Beads DJ Krash Slaughta - Abduction EP Indie Futura Dynamo Productions - Showtime Vol. 2 Illicit Recordings Blood and Jonez – Spare a little change EP (Deprogrammed Prod) London I – Renaissance/blitz - R.A.F C-Mone – Self Title C-mone EP Mecca 2 Medina EP, ‘Stop the Violence’, ‘Telly Addicts’ & ‘Seeing Through the Smoke Tha 4orce - ‘Mind the Gap Anthems EP’ BBE Fupper - The Cookie EP Tritone Records Individual MInds - Verbal Executions EP Self Destruct Music Keith Lawrence - Bussin' True EP Beathoven Krispy – Dress Back/ Bored To Death - Damn Right Lost Souls - Scratching The Surface Janomi Records Mud Family - Mud Family EP Pure Motion Music Out Da Ville - Notts Property EP Out Da Ville Phi-Life Cypher & Taskforce - The Chosen Few EP Jazz Fudge Poisonous Poets - Poisonous Poets Quality Black Music Relevance - Mushy Peas All City Rob Life, Cappo, DPF & Kashmere - Focus On The Main Features b/w Iguana Verses Breakin' Bread Sam - Hip-Hop From A White Guy Self-released

LPs

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✬✽✬✵✻✺ DJ CASH MONEY @ THE GO OFF, PORTSMOUTH 12.10.02

Tucked away on the south coast, the Go-Off has done a good job of bringing quality hip-hop to the masses in the naval town and tonight is no exception. The promise of seeing the world-renowned party rocker and scratch innovator has sold out the Wedgewood Rooms in Portsmouth, and the venue started to fill up early in anticipation. Resident DJ Gentle Ben rocked the crowd in the opening slot, spinning new and classic boom bap from Show and AG's 'Soul Clap' through to J-Live and Jazzy Jeff's latest offering to get the heads nodding. Local hero DJ Jimbrowski then took the assembled throng (an even mixture of male and female, and locals and students) on a whistle stop audio hip-hop trip journeying from old skool electro and getting the crowd buzzing with hits pulled from the Cold Chillin' back catalogue. It soon became apparent that Cash Money was running on H-HMT (Hip-Hop Mean-Time) which is half an hour behind whichever time-zone said performer happens to be in. The first American DMC Champion was rushed onto stage just after midnight an hour late, and proceeded to work the crowd into a frenzy. Cash Money is one of the few deejays who defies media labels and places indy hits right next to the jiggy. His ridiculously tight juggles and scratches look almost effortless, and even though he has probably played the same set every night of his tour (large chunks had been produced on the 1FM Rap Show the previous night) Cash looked like he was having the time of his life, boogying hard behind the decks. Having spun everything from hip-hop through to a little R’n’B and dancehall until the wee hours, Cash Money vacated the one’s and two’s to loud applause. The vibe at the Go-Off was cool, so if you're looking for an attitude free, cheap and entertaining night out without having to trudge into Londinium, I know these fellas on the South Coast who might be able to sort you out. Kobi

ITCH FM BIRTHDAY

RAP REVOLUTION

@ SUBTERRANIA

@ CARGO 19.05.02

You know there’s gonna be some sick levels of unadulterated hip hop when its time for Itch FM to blow out the candles. London’s only real hip hop representatives on the airwaves took Subterrania hostage for a hip hop extravaganza. Kila Kela stunned the crowd with his cold skills sending out a message to Rahzel of The Roots that all he knows ain’t all there is to know about human beat box. Tommy Evans held it up in the absence of Jehst, but was blown to the back of people’s consciousness by an intense Ricochet Klashlashoff who sent the crowd into a frenzy. Taskforce took it to the headline, alongside a green Ransom Badbones, putting an end to a night which proved that UK hip hop is now fully willing and able to provide high quality live entertainment. Pass me the cream cos this Itch is getting out of control. Jake Green

Tucked away in the back streets of east London, Cargo was playing host to The Rap Revolution Tour. The arches were steaming, and on this particular Sunday evening filled wall to wall with hip hop heads. The tour having reached London made the MC’s kinder excited to be home, especially local boys 12 Stone, who filled the stage and spat their style in away that couldn’t be overlooked. Backed up by DJ Excalibur cutting it up, the Hackney MC’s warmed the crowd to the point of boiling, preparing them for guest appearances from DJ Sassy, Estelle, and Fallacy adding to the line-up already consisting of Rodney P, Skeme, Big P, and The Extremists backed by ‘Big Daddy Skitz’. The remix and repeated rewind of Groundbreaker (Fallacy and Fusion), live mix of Just Because (Estelle Ft Skeme), and DJ Sassy’s explicit rendition of LL Cool J’s ‘doing it’ (also Ft Skeme) meant that the crowd never got a chance to catch a breath, even with the entourage of video cameras that had the MC’s flinching from lens to lens. To end the night and put a stop to the barrage of beats, the sound guy had to pull the plug mid flow. Hip Hop the way Hip Hop should be. Jake Green

Reviews: Reviews@bigsmokelive.com

CHESTER P’S BIRTHDAY @ KUNG FU - UNDERWORLD

There didn’t seem to be many presents insight considering that it was supposed to be a birthday party, but Chester P didn’t care he was too busy blushing beside Ms Dynamite as the queen of killer crossover swaggered on stage to sing him happy birthday.As for the music, on this rare occasion, performed by a live band reiterating renditions of hip hop classics. Taskforce did what they do best laying down a heavy mama shocking papa rocking set made even more impounding by the live organ and brass accompaniment. Nice. The only birthday beats that Chester P seemed to get were from Taskforce DJ Louis Slippers. The venue was hot, the crowd was hot and at the moment Taskforce seem to be the fire in the belly of London’s Hip Hop scene. Jake Green

HERBALISER @ASTORIA

Phi-Life-Cipher did more than just support the Herbaliser at the Astoria, in fact they were going on Gossard. In between the Herbaliser’s classic instrumentals, the sublime Seemin’ To raised the roof a couple of octaves with a voice that was out of this world. The contemporary opera singer pitched a wicked welcome at an audience with happy feet sponsored by DJ Ollie Teeba. When something wicked comes this way you know Wildflower is gonna have something to do with it; on the night the Wildflower was blossoming, adding colour to an instrumental set that was a little overgrown. Wildflower replaced What What on a rewrite of ‘Mission Impossible’, and it seems that she has replaced her as the Herbaliser’s femme fatale. One thing’s for sure, you can’t buy this flower at the traffic lights. The Herbaliser have been around along time now but they keep doing what they do, and doing it well.Keep herbalising…. but don’t forget to water the plants. Jake Green

Phi-Life-Cipher Photo: Jake Green BIGSMOKELIVE.COM

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Hackney Respect Festival: Photo: Jake Green

WWW.BIGSMOKELIVE.COM BIG SMOKE MAGAZINE ISSUE 4 THANKZ:

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THANKS TO ALL THE HIP HOP MAGAZINES THAT INSPIRE US TO DO IT BETTER. ISSUE 4 IS DEDICATED TO MRS M TUSTIAN YOU WILL BE TRULY MISSED AND JAM MASTER JAY R.I.P. AND TO ALL WITH RECENT LOSS.

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