Concrete Nashville 65 by CONCRETE Magazine

concrete615.com 6-8 ..................... Young Dolph 10 .........Bino Brown & Jay Fizzle 12 ......................... DJ Jazzy T 14 ................... Music Reviews 18 ..... Nashville 10: Brittany Passion 20 ................ Kool Daddy Fresh 22 ........................ Cody Khaoz 24 .........................Barz Major 26 ........................ Nam White 28-30 ...................... Jelly Roll Publisher: Capo Ad Executive: Capo Art Director: Rex2-tm Nash 10 Photography: Tavell Brown Editorial Photography: Tavell Brown Ad Photography: Visual Flavor Ad Graphics: C3GRAFX, Kyro Ink Publishing Consultant: Bryan Deese

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CONCRETE: How has Memphis influenced your sound? Young Dolph: A whole lot, Memphis is legendary. We have a lot of legends. Memphis has not only influenced me but really influenced the whole South a whole lot. CONCRETE: How long did you push before you broke through? Young Dolph: I was pushing strong for about four years before I really got my buzz up. CONCRETE: In the song “Preach” you say you seen someone get shot at the age of nine. Can you tell us that story and how that affected your life? Young Dolph: It was a drive-by on somebody walking down my street. When it happened I remember walking down there and seeing all the blood puddles from where the person was running. To know that happened on your street was like ‘damn’, but it was just one of many. CONCRETE: Do you see any benefit in going with a major label verses staying independent? Young Dolph: Nah, because I got the recipe, I got the brains, I’ve got the talent, I got the hustle and I got the team. I really don’t need a label and I don’t want no label. Either way I’m going to keep doing what I’m doing, that’s getting bigger and bigger everyday with a label or without a label. CONCRETE: You seem to have the key to success, who are you calling for daily advice whether it’s business or just life in general. Young Dolph: Tell you the truth I get more advice from my partners around me. My partner Daddy Oh, my partner C, my little brothers, and my Uncle (RIP). That’s where I got a whole lot of advice from. The advice he gave me coming in the game is still my mentality. He said, “Just do you and stay focused.” He was the one that told me, “You can do it.” Coming from your Uncle or Auntie or relatives that support you with the kind of music we make that’s a good pillow to have. Also a lot of people in the game. I take the little sh*t from a conversation with my artist partners and take away the good situations and bad situations and learn. If I’m going to do something I want to be the best. continued on next page

CONCRETE: You posted some images of a kid that was court appointed to you and he was also in your “Get Paid” video. What was that like and what advice did you give him? Young Dolph: Yeah, he was with me for a day. We shot a video with him and just chilled. I was trying to tell him to get paid! CONCRETE: Your King Of Memphis album has production from the legendary DJ Squekee. How did that come about? Young Dolph: That’s my day one partner. That’s the first producer that I wrote to one of his beats. So fifteen mixtapes later we are still working making bangers killing the streets. As long as their is Dolph their is gonna be Squikee, as long as I’m putting music out. CONCRETE: What song on King of Memphis means the most to you? Young Dolph: That’s a hard question, I would say “Real Life” the last song on the project and “Facts” the first song on there. CONCRETE: You dropped Bosses N Shooters what can your fans expect from this mixtape?

Young Dolph: It’s me exposing Paper Route. They are going to see how really serious I am about the game. They are going to get a load of Bino and Fizzle my two artist. It’s Young Dolph featuring Bino and Fizzle. The whole mixtape goes crazy. Bar for bar song for song the production is crazy and the people are going to want more. Beano and Fizzle are going to take off and Paper Route is going to be here forever. CONCRETE: What did you see in those artists that made you want to put them on your label? Young Dolph: First I like both of them as a person, the rapping part is cool but I like someone as a person and being able to deal with them. If I’m going to do business I’m going to do business and make them millionaires. I want to make both of them bigger than Dolph and see how far they can go. I hope they want for themselves as much as I want for them. A lot of times you may want for a person more than they want for themselves, but they want it and they’re going to get it. They both are hustlers, they both are hard and they are going to go. We’re about to f*ck the world up. CONCRETE: You copped you the Rolls Royce is there any other exotic cars you have your eye on? Young Dolph: I don’t know, I don’t ever have time to drive that car. Who knows though the summer time is around the corner. CONCRETE: You stay with some exclusive shoes, What’s your favorite sneaker right now? Young Dolph: It’s going to f*ck you up because my favorite pair is these retro 10’s. I’m wearing them tomorrow, like a little kid be when they get something new and be like I’m wearing this to school tomorrow. CONCRETE: Your album title King of Memphis caused a lot of controversy. What made you feel like you took that position? Young Dolph: If you don’t feel like your a king, don’t treat yourself like a king or operate like a king then we can’t do business. At the end of the day if you pen your mail and have bills, who has to pay them? When rent time comes who has to pay it? You do, if your kids need something, your nieces or nephews or your Momma calls you like I need $200 real quick, what you have to do? Anybody that mans up to their responsibilities is king. A lot of people go extra, you not obligated to do it, but some people are like, ‘I’m going to take on the responsibility, I’m going to be there for whoever whenever’ and that’s how me and my people are. End of the day “King of Memphis” go get it right now. We on that King sh*t Paper Route Empire we all Kings.

CONCRETE: How did you guys end up linking with Young Dolph? Bino Brown: I was pushing my CDs in the streets and it got to Dolph. One night I ran into him and he did what any real street guy would do he was like, ‘I want to help you do this.’ For a guy to walk up to you and say I want to help you cause they see you grinding that felt more like family than anything else. So it was only right. Jay Fizzle: I’ve been down since day one just working and ﬁnally now the work has paid off. CONCRETE: For the people who aren’t familiar how would you describe your sound? Bino Brown: I give you that trap sound but I also give you lyrics. I try to mix it up a little and not give the people the same thing. Im growing as an artist so you never know what you may get from Bino Brown. Jay Fizzle: I push a lot of styles. Mainly I push the real struggle the passion of a real gangsta. CONCRETE: Are you both from Memphis Jay Fizzle: Yeah, both from the bottom, the trenches. CONCRETE: Bosses and Shooters is a collaboration project with you guys and Dolph. What was that like putting it all together? Bino Brown: We already had a lot of songs together. It was harder trying to pick what songs we were gonna release and to ﬁnd the right title. Bosses and Shooters is just the beginning we have a lot more coming. Jay Fizzle: Like he said it was hard to pick what was going to go on there. We have so much music and have done so much work. CONCRETE: Whats next for you guys and PRE? Bino Brown: We each have a solo project coming, plus we have the Bosses and Shooters tour coming real soon. It ain’t stopping at all.

CONCRETE: Where are you from? DJ Jazzy T: I’m from Memphis by way of Atlanta to be speciﬁc Lithonia, GA. My younger elementary years were in Memphis. My middle school and high school years were in Atlanta. CONCRETE: How did you become an on-air personality at 101? DJ Jazzy T: Dolewite and Scooby were the big homies. Scooby had a big impact on me as far as taking radio seriously. My sophomore year I interned at 101, then the year after that I went back home and interned with Greg Street, Dj Scream and Dj Spinz for hoodrich radio. I fell in love with radio down in Atlanta and it made me want to come change Nashville radio. I was putting together these mixes called “The Weekend Mixes” every weekend. Dolewite reached out and said he was gonna do a weekend mix show and feature a few DJ’s and I was one of them. My memorial day mix got me on radio. I gave that mix all I had and went all the way in and just from that mix alone he gave me the chance. CONCRETE: One major change at 101 is you can actually hear indie artist on air now, what makes you show indies so much love? DJ Jazzy T: I show a lot of love to local indie artist because that is what we are suppose to do. I think a lot of times with radio dj’s they forget that. Don’t get me wrong there is a lot as a radio DJ that we can’t control but if they give me a little space i’m going to say it. I support the grind and the hustle and some times all you need is a little help. I’m looking for artist that have quality, i’m looking for a quality track, and i’m listening for a good beat. I need it to sound good and if it does i’m playing it. It doesn’t matter if you have a huge following I’ve played people from two followers to 2million followers. I think today people are so caught up in peoples lives that we aren’t paying attention to the music. If we payed attention to only the music a lot of stuff would be on radio right now. CONCRETE: Any last words? DJ Jazzy T: Make sure you listen to my mix show Friday from 6:45pm to 10:00pm. Saturday i’m on air from 9am-3pm and Sunday i’m on air from 3pm to 7pm so tune in to weekend at Jazzy’s. Check out my vlog series, the last interview I did was Bank Roll Fresh so after that situation I took a step back because I had his last interview and that was a lot to take in. I was in the club DJing when I heard what happened to him and it hit me hard. His publicist called me and said you know you did his last interview. Fresh is going down as a legend, there is two ways to become a legend. Either because you have been in the game for so long or you die before you reach your full potential. I’m humbled and thankful for the opportunity because it’s a little piece of history for me. I feel like that was the biggest gift of my career.

Jelly Roll - Sobriety Sucks

One listen to Sobriety Sucks and you will hear that the “NEW” Jelly Roll hasn’t veered very far from his old ways. This project may be more musical than previous albums but it’s refreshing to hear live instruments behind Jelly Roll’s deep story telling. The song “California” is a record about the demons he faced while in the city of angels. “Train Tracks” featuring Struggle is a in depth look into both their lives and how far they have come,”Need Nobody” an uptempo record that gets you feeling good, motivated and reciting the hook over and over. Some more records to check out are “When I Get Rich”, “Little Jimmy”, “Talk To God” and “Pill Poppaz”. This is a dope body of work, we appreciate the fact that every song came from a real place and not just Jelly trying to create the next hit.

Barz Major - #IGUOMA (I Got Up Off MY Ass)

The problem is when battle rappers start making music a lot of times they can’t write a good song. Good thing Barz doesn’t have this problem. His ﬁrst three records on this project is enough to keep your attention for the whole album. On the intro he hits you with a barrage of punch lines that gives you the feel of being face to face in a battle. Next he f*cks your head up and switches lanes on the song “All This On Me” with a catchy hook that Barz sings all the way through and sounds dope doing. “Like A Blessing” is a feel good anthem that should come with a warning, this song will be stuck in your head for days, “B*tch I got a knot on me, Lil B*tch I got a knot on me.” Some of our other go to records are “Crushing On Dej Loaf”, “Monday” and “I Got Shit To Do”. Get you a copy today!

Nam White - Hot Chicken

Hot Chicken starts immediately with a bass line that demands your full attention. Cuts from the DJ are a perfect introduction for Nam’s cool laid back delivery. His ﬁrst words on the mic are, “she eat caviar but she don’t swallow babies”. Nam gives clever word play with meaning. Songs that are well thought out and ﬁt perfectly with the production. “Sip Slow” is a perfect example, with his son making an appearance talking under Nam’s verses. “BlKFacesOnTheWhtDollar” Nam speaks on how spending money doesn’t make you free but saving it does. This project honestly didn’t have a weak record, it’s nine solid songs. Production gives you a cool vibe with classic piano, crazy drum patterns and funky ass bass lines. Nam White isn’t afraid of being that cool dad, teacher and artist with his sh*t together, making white collar grown man music.

Shon Skonie - Ready to Drill

Shon Skonie landed on our radar with this one. Start to ﬁnish the Ready to Drill is ﬁre. “Gotta Be Something” is a grimy record that pulls you in and makes you want to get up and get to it.” Shon Skonie is one of those great storytellers painting pictures through his words. He delivers that element almost through the entire project. He spits raw lyrics over dark hard hitting beats that brings the streets directly to you. Songs like “I Got Issues” ,”Umbrella” ,”Laydown” and “Trained To Go” are some of our top picks.

BeHoward - Fortune Tales

We know when BeHoward releases something its going to be ﬁre. This project is no different, the production handled exclusively by Nasty Nyse is next level. The sound BeHoward and Nasty Nyse have created together may be something new for the game or at least Nashville. Fortune Tales starts off with some smooth ass violins and BeHoward attacking the beat while showing love to some Nashville pioneers. All songs on this deal with the concept of money. Which you think would get redundant but Behoward does a great job of keeping your attention. Songs like “Holy Moly” ,”We Gone Eat” ,”100 G’s” ft WILX are just three of six reasons you should get this six song project.

Hometown: Dayton, OH Measurements: 34b-29-42 CONCRETE: What turns you on/off? Brittany: What turns me on is mind stimulating conversations and simple things like going to get ice cream and chilling in park. Turn offs for me are bad manners, bums and being controlled. CONCRETE: Who is your favorite designer? Brittany: Michael Kors. CONCRETE: What three artists would we ďŹ nd in your iPod? Brittany: Dej Loaf, Drake, Mary J.

CONCRETE: How did you get your start as in Nashville? Kool Daddy Fresh: I came down here from Louisville, Kentucky in 87 and I hooked up with The New Style Posse. Really the whole thing started because they were having concerts in Hadley Park. DJ Ice put me on the mic in front of the whole city on a Sunday. Once you rock that you had a name. I shut the park down and everyone was like who is this new cat. From there I got down with The New Style Posse. We made our first record on ChillVille records. I was fifteen and on tour with Eazy-E, NWA, Geto Boys, Tone-Loc and more. I shot ball with Ren and drank 40oz with Eazy. Being so young we thought we were gonna blow but then everybody in the group started having kids and starting families so I broke off with the solo career and started Kool Daddy Fresh. Actually the day my first daughter was born I changed my name from MC Fresh to Kool Daddy Fresh and that’s where it all began. CONCRETE: How has the game changed since that day it all started for you? Kool Daddy Fresh: I would say the flavors of the music. Back then you had some cats that

were socially conscious, some cats that were lyrical, and some cats just bragged about their DJs but you had so many aspects. Every one was expressing their selves but as for today everybody is rapping about the money or the trap and it seems more limited. You can almost predict what a song is gonna be about before you hear it but back then you weren’t sure what you were gonna get. CONCRETE: What can the listeners expect from you now? Kool Daddy Fresh: Growth, a lot of things I seen and went through from 1994 to 2016 being here over twenty years later, a lot of disappointment , a lot of sneaking messages in the music. I’m seeing a lot of the kids don’t want to hear messages and rappers are dumbing it down. Its a lot of beat and hook rapping now. CONCRETE: So what do you have in the works now? Kool Daddy Fresh: I have a couple of movies on the shelf. I did a comedy called, “The Store with Regional Ballard”, “Bruh Man” from Martin and that’s out now. I was just in the “We All We Got” movie with King D Son and “I have the Father Josh/Wu Tang” project dropping this summer. I just joined label forces with Sosa Da Plug so now it’s Shark Ent/ Fresh records. He is dropping the Oil Base project then i’m coming with The Skinny Charles Manson mixtape and then what the fans have been waiting for the “Its All True 2” album. CONCRETE: “It’s All True” was a classic, so what can the fans expect from part two? Kool Daddy Fresh: I’m humbled to even be here and have the opportunity to make a come back and still be excepted by my fans. I’ve been through a lot and I put it all in this project. I’m giving the people the best of Fresh. I’m wiser, more in tune and more caring about what’s going on. Look out for something great.

CONCRETE: Let the people know where your from? Cody Khaoz: I’m from Nashville, TN born and raised. CONCRETE: How long have you been skating? Cody Khaoz: For about eleven years. CONCRETE: Who are some skaters that influenced you coming up? Cody Khaoz: Paul Rodriguez, Shane O’Neill and Nyjah Huston. Nyjah Huston was a really big inspiration, but those have to be the top 3, I just love their styles. CONCRETE: Is there any influences from here in Nashville? Cody Khaoz: My homie Eric Summers, he was there when I first started getting into it. He’s always skated and had my back. We have always skated together for as long as I can remember, always there to push each other. That’s my dude right there. CONCRETE: Let’s talk about some of your sponsors. You mentioned that you were running Khaoz boards. Cody Khaoz: Yes. Me and my homie started it way back when. I actually just got tired of buying boards that I didn’t like. I knew what I liked to skate and my homie had the knowledge as far as business goes. We ran it for a while but he just recently had a baby. He was like, ‘man I’m going to leave the company, but I want to give it over to you. I’m going to teach you everything you need to know.’ So last year I took time off from competitions and focused on the business side. He finally signed the papers, so yeah I’m big dog on campus now I guess. I’m also working with Tru Star clothing co., Purpose Skate Co. which is a new shop that just opened up right down by Two Rivers and Butt Covers which is an underwear . We’ve been chopping it up with them for a minute, I like the name Butt Covers, I thought that was pretty funny. CONCRETE: How would you explain your style? Cody Khaoz: I skate goofy. I’m more of the street skater. I like parks, I got mad love for people who have park skills that’s not easy. I think when you’re street skating it’s like an art form. You have to go out places that aren’t meant for you to skate and rig something up that’s going to work. Sometimes you just find a perfect rail or ledge, but then you have to deal with security or the wind or this, that and the other. I am definitely a street skater. CONCRETE: What are some of your go to tricks? Cody Khaoz: My favorite trick of all time is Nollie laser flip. Nollie 360 heel flip all the way around, I love it.I try to take that down anything that I can. It’s that level where its hard but fun. CONCRETE: Your also doing a DVD, tell us about that? Cody Khaoz: It’s called Savage Life, coming out in July. It will be my first solo video. I’m working super hard on it and it’s going to have a couple of cameos. It’s going to be awesome, straight street.

CONCRETE: Where are you from? Barz Major: I was born and raised in Nashville, Tn out in Harding Place, without Harding Place there would be no me. CONCRETE: Tell us about your IGUOMA (I Got Up Off My Ass) project. What can your fans expect from it? Barz Major: Diversity, there isn’t no genre. I’m singing, rapping, I may be popping and locking on there. I’m going crazy bar for bar. There isn’t too many people that can go bar for bar like me. It’s a album and mixtape. Everything is original, there isn’t any industry beats on there. Everyone that’s listening is saying, “You’re snapping on that thing man, you’re going crazy.” CONCRETE: People know you for battle rap. You’re back in the studio recording. Is it difﬁcult to transition from battle rap to getting back in the booth? Barz Major: It’s different in the sense of where your mind is at. When I’m recording I’m recording what I’ve been through, when I’m battle rapping I’m taking what I’ve been through and putting it in a war mind state. So it’s kind of hard sometimes coming off that mind state. Instead of me making a song for girls, I’ll make a song about cutting somebody up or something like that. It took me a month or two to get back. It just feels like I’m transcending into something because now it’s not even a problem. I’ll go do my battle then come out the battle and go to the booth, two whole different people. CONCRETE: It’s been a while since you dropped a project. What was it that got you back in the studio? Barz Major: Actually I’ve been in the studio. Me and my Pilot Gang family was running real tough and then we just wasn’t seeing eye to eye as far as the moves that needed to be made. I had to step back and really just go about it myself and that’s when I ran into 28. I wasn’t in no hurry, I know if you need a good engineer it’s not going to happen overnight, you got to build it. So we put a whole year into it and built that catalog of songs. Then we went through them and said its time. I never lost ﬁre for the studio, I love being in the studio. When I was on house arrest that was the only place I would go. My P.O. was like, “you don’t have no curfew when you go to the studio, your cool.” CONCRETE: Who are some of the producers we can hear on this project? Any features? Barz Major: My brother Graphic Beatz, my brother Fade Majah, Beatz by Polar, Holla at 28, Steaveaux Divinci and Bandplay. I kept it in house this time, I was going for more of the J. Cole type thing this time just because I’ve been away for so long. Its really mostly me but I got my brother Love Shy on there my sister features on there from black time Mizz L, Hotboy Nitty and Ville Gates. It’s a solid project with not to many features.

CONCRETE: We are interviewing Young Bread about the “Hot Chicken” project and not the artist Nam White, why is that? Young Bread: I’m a representative of Nam, this is for CONCRETE and CONCRETE is for the streets. We feel I’m more connected to the streets than he is. I’m from here, born and raised in Jo Johnson, North side. Nam actually started off teaching some of my brothers, four of them who are actually incarcerated at this time. That’s why this is so important to us, to give us and our people something positive to do when they get out or to keep them from going in. We’re just trying to grow and do better. CONCRETE: How did you and Nam link up? Young Bread: He use to be my teacher. CONCRETE: Nam White and you are pushing his “Hot Chicken” project explain the title and what can people expect from it? Young Bread: We wanted to represent the city for what it’s know for, and that’s Hot Chicken. We are giving the people our recipe which is our story. This album is one of those albums you throw in and play all the way through. Its got great vibes. He speaks on Dad life, taking care of responsibilities, and just some real grown man stuff. Nam White is a positive artist that is giving out positive vibes. This project is for both the white collar workers and the every day people trying to grow. CONCRETE: What does Nam White want the listeners to take away from his “Hot Chicken” project? Young Bread: Soulful beats, dope lyrics, and hooks that help people remember to LIVE and not die. It’s name Hot Chicken is in honor of the black folks in Nashville who might go unnoticed but have inﬂuenced the world. The name Music City was given to Nashville because of Fisk Jubilee singers. The Nashville sit in movement ignited a new form of protest and Princess Chicken has KFC switching up their style. Hip hop artist in this City must not sell themselves short. CONCRETE: On the song “Black Faces on the White Dollar” Nam mention Harriet Tubman, explain the meaning behind that record? Nam White: Black faces on the white dollar came from the political push to replace Andrew Jackson’s face on the 20 dollar bill with Harriet Tubman. The song is about my own struggles with over spending based on the myth that being rich means spending money when the truth about being wealthy is the exact opposite. There is freedom associated with being ﬁnancially independent but over spending, credit card debt, and turning up can keep you enslaved to the banks and forces of capitalism. The idea of having Harriet Tubman replace slaver, murderer of native americans and 7th U.S. President Andrew Jackson aka Old Hickory on the $20 is empowering. Save or invest every single Harriet Tubman $20 you get your hands on!

CONCRETE: How did you assemble your band? JellyRoll: There is this local thing every Monday night at Winners called Whiskey Jam. All the up and coming country artist go play and it’s kind of like a staple. They let me play it a few years ago,so I put together a band for it. When we went to Whiskey Jam that night I met my guitar player he came up to me and was like “I dig it” then we hired a drummer. I found out then that running a band is really hard so we went and found a new drummer a young guy named Case Drums. He turned 21 since he been touring with us and I’ve always had my DJ, DJ HyLyte. CONCRETE: Your style has changed since the Hate Goes On days, do you feel you have found yourself as an artist? JellyRoll: Yeah, I think I just grew up. I just kicked into the thirties and that’s a big deal to me. I had a kid and decided I don’t want to go to jail no more.My heart changed, so my music changed with my heart and then I started to really get into music. CONCRETE: How long have you been playing the guitar and how did you learn? JellyRoll: I’ve been playing for a few years now. I’m still not as ﬂuid as I would like to be, I’m taking piano lessons this year because as soon as I got comfortable with the guitar I was like lets move on to another instrument. It has helped me as an artist and my song writing ability. You really strip the power from people. I encourage young artist to learn how to make your own beats, don’t rely on another mother f*cker for your career. I can grab my guitar and sit here and write a song all by myself and thats empowering. Its the ability to express myself by myself.

CONCRETE: How has being a father changed your approach when making music? JellyRoll: I still cuss a lot and I’m still vulgar. I’ll be honest but I’m more subconscious how I approach writing. It’s one thing to be vulgar but it’s another thing to push something bad. My music doesn’t encourage bullshit anymore. That’s why I quit rapping about selling drugs. You either rap about what they have done horrible for you, or the good times. Most artist tend to stick to the good times and not about the ﬁfty year sentence you were handed. CONCRETE: What do you have to say to the people who refer to you as the new JellyRoll? JellyRoll: Keep referencing me. I really don’t care how you refer to me at this point. I’ll take the new Jelly Roll but listen to it ﬁrst, before you judge it. Go listen to Therapeutic Music 5 and really listen to Sobriety Sucks , and if you still want to call that the new Jelly Roll than I’m with that.Judge me by the music and not by what the music looks like. CONCRETE: What do you say to the people who say you switched styles up and you don’t deserve the cover of CONCRETE? JellyRoll: Anybody with that opinion can’t out rap me. You heard the project it’s still very hiphop. I feel like I represent Nashville hip hop seriously as well as the people before me that I looked up to like Quanie Cash, Pistol, Boogie, Papa J and Haystak. If you look at Nashville’s rap history I feel like from the Blow Pop Crew era to the Papa J, Boogie era which bleed over into the Pistol, Quanie Cash, Haystak era. The era that came after that was JellyRoll and Starlito. We are that class of artist that not only held down Nashville but we did it in a major way. So to say I don’t deserve the cover of the Nashville rap magazine! Man suck me while I’m soft! Straight up, we held this culture down like no other.

CONCRETE: Congrats on all your recent success, how has life been treating you? JellyRoll: I’m home, we did a lot of traveling last year. We did around a hundred something shows. We’ve been back home for a few months now and i’m glad to be leaving again. We are headed back on the road for Cypress Hill’s 25th Anniversary Tour. We are doing ten dates with them, about fifteen solo dates plus a bunch of festivals this summer. CONCRETE: You have been killing the shows, what about music have you been working on anything new? JellyRoll: We just finished Sobriety Sucks it will be out in May. It’s a crazy mixtape with like sixteen songs. I’m very proud of like eleven of them, it’s different but it’s not. Not as different as people think it’s going to be. It sounds different, feels different, more musical but it’s still produced like a hip hop record. CONCRETE: You mentioned there was five records that mean the most to you, what are those and why? JellyRoll: I have a record called “Killing Me” it’s probably the darkest song on the project.I got another record called “Talk to God” ,about how I think our relationship with God should be.We have a record called “California” I say I only do cocaine in California. It’s to reference to people that I went to that city of dreams and realized that the city of angels is really a city of demons at night. We have a song called “Little Jimmy” that’s probably one of the most punk rock records that I ever cut. Then the last one is called “No More”, it’s a record I wrote about a love affair of my life. This is by far the most on my sleeve I’ve ever been as far as my personal life musically. CONCRETE: In the song “Talk to God” there was a line where you say, “People would rather listen to Smo then hear what I have to say”, explain that. JellyRoll: Nothing against Smo. Me and Smo make two totally different types of music. I’m not saying Smo’s music isn’t real I’m just saying it isn’t real to me. I feel like sometimes people would rather live in this let’s go hunting and fishing and let’s all party and be happy life then to hear about the real pain that exists in this world. My content touches a different audience,it’s still way more urban.That’s why this interview and this cover is so important to me to convey the message that it’s the same ol Jelly baby the music is just better. continued on next page