Medicine Men Photo is courtesy of Overdose Entertainment. Fiend Photo is courtesy of Fiend Entertainment. So Suave photo is courtesy So Suave Records. Young Dro photo by Michael Blackwell / courtesy Grand Hustle / Atlantic. Daz photo courtesy So So Def / Virgin Records. Rita G. photos are courtesy of www.rita-g.com
Publisher / Editor-In-Chief Anthony Colom, (Colom Media Group, LLC) Managing Editor Kevin Gordon Music Editor Alan Harrison Director Of Promotions Dub G. Advertising Director Aaron Colom Artist Research Libor Jany Cover Graphics Gregory Spencer at misvisiongraphics.com Web Design Bryant Cook at pd-design.com Reviews Jimmy Biggs, Charlie Braxton, Kevin “K.G.” Gordon, Alan Harrison, Ty Jones, Libor Jany, V-Style, & Big Dizzle
READ THIS ! Our next issue, due out January 15, 2007, will be a special issue distributed at the 4th Annual Southern Entertainment Awards [Grand Casino, Tunica, Mississippi / January 25-28, 2007]. So go ahead and purchase your ad today ! The event will draw an estimated 2,500 people consisting of : music buying fans, artists, major & independent label executives, radio/club/mix dee jays, promoters, and entrepreneurs. Call Now For our Independent Artist Rates : (662) 251-0075 or log on to : www.newpowermagazine.com
Reppin’ The Power Codie Gopher, Doc 6, Chris Washington, V.I.P. Records, Dub G., Kevin Gordon, Alan Harrison, John Adkins, Big Cee Jay, Supa Nova Inc., Trey Chambliss, Kevin Rooks, Mr. Lee, Bernard Wren, Mr. E’s, Ern’s Dollars, DJ Kash, Red Billa, CD Cellar, Mid-South Music, Steve Jones, Movie Palace, Antonio Rogers, G-Spot Apparel, Jawar, Bigg V., Theodore Palmer, Be-Bop Records, Greg Gate$, Tip Cds & Tapes, Soufside, DJ Xmas, Kerrold Ellis, Anthony Baker Jr., & Curtis.
Contributors Bob Baker, Charlie Braxton, Anthony Colom, Dub G., Kevin “K.G.” Gordon, Alan Harrison, James Johnson, & urbanconnectionz.com The views and opinions expressed in this publication are not necessarily the views and opinion of The Colom Media Group, LLC, The New Power Magazine, nor any of our advertisers. Colom Media Group, LLC does not claim any responsibility for stories, photographs, interviews, audio, video, nor any other advertising or promotional material sent to us that has been misrepresented. This publication may not be reproduced in whole nor in part without the written permission of the publisher. Copyright © 2006, Colom Media Group, LLC. All Rights Reserved. www.newpowermagazine.com myspace.com/newpowermagazine Mailing Address : Colom Media Group, LLC P.O. Box 8465 Columbus, MS 39705 Physical Address : 200 6th St. N. Courtsquare Towers Suite 602 B Columbus, MS 39701
ention the word fiend to the average ghetto dweller and images of cracked-out zombies dragging themselves through the streets of the inner city, looking for their next hit will instantly come to mind. But, to tell the truth, there's another side to this word that few people ever consider. According to Webster's New World Diction ary, the word fiend can also be defined as a person who is extraordinarily gifted in a certain field of discipline ; an expert at something as in Rakim's microphone fiend, a term that the NYC born lyricist used to describe his lyrical ability on the mic. It was a point that a young New Orleans born MC by the name of Richard Jones took to heart when he decided he needed a name that best described him.
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Many of you may know Fiend from his stint with the former powerhouse label, No Limit. His two gold-selling albums, There's One in Every Family and Street Life, are considered classics among fans of the No Limit legacy. In keeping with our quest to examine the legacy, we sat down with Fiend to talk to him about his life, career, and his views on why he left the label. Q Before we start let's talk a little bit about your life for a second. You're from the Hollygrove area of New Orleans. Fiend: Yeah, that’s right. Q: Tell us, what was it like growing up in Hollygroove? Fiend: To me Hollygrove was the shit. I had a great life back there. I grew up on 827
Fiend: I never did do a Gong Show.
Edenborough Street, right across the street from Morris Lounge. My Daddy was the bartender and owner of the bar so music has always been in my life. My aunt's house was on top of the bar room. I slept on her floor with all of my little cousins and I could hear all the music coming out the juke box. I mean... you got your harsh realities there, but I remember more good times than bad.
Q: Then how did you get put on?
Fiend: The Fat Boys, RunDMC those were the people I was jamming to. My cousin and my brother put me up on them and a few others.
Fiend: This dude [named] Devious use to have a whole bunch of shows and I used to be his back up. I was learning my way around the studio working on my rhythm and how to write to bars. I used to write 24 bar songs. I had to learn to write shorter bars. How I developed my style of raising my voice like you going to hear me. Devious used to drown me out whenever I'd try to rap he'd turn the radio up and I'd simply raise my voice until he had no choice but to hear. I remember one day when he did that and I raised my voice until I was just as loud, or louder than his radio.
Q: When did you start rapping?
Q: How did you get your first deal with Big Boy Records?
Fiend: I started when I was 13, but I really didn't get good at it until I was 15. My rhythm was off at 13, but I was still reckless. Before my brother passed he hooked me up with a guy named Devious and told him I want you to show my little brother the ropes. He could have reached me a bag of this and told me get out
Fiend: J-Dawg from Black Menace hooked it up. I did an intro for Wild Wayne, a local DJ who’s on Que 93 in New Orleans, and he played it. Devious had done the beat and everything for it and it was hard. They [the folks at Big Boy] heard it and they met with me and the next we went into the studio and recorded a single.
Q: How did you first come in contact with hip-hop?
here and get it how the fuck you live, ya know ? But he didn't, and I love that nigga for that to this day. Q: A lotta people in New Orleans did Gong Shows and stuff like that before they got on, did you do that too?
Q: KLC was DJing back then, did you know him before joining No Limit? Fiend: I met him like through Devious because he was getting some beats from him before he signed to No Limit. Q: How did you get signed to No Limit?
Fiend: Mia X got me and Mac on a song and she was like.... you all would fit into the program so well over here. And KLC was right, you're right. Kane & Abel was already over there and we were already friends. They all got at P and he eventually signed me. Q: Talk a little bit about your contribution to No Limit's success? Fiend: Hooks was my M.O. Hooks was my shit. I did the hook on that song on Ghetto D that went "if ya want me come get, how the fuck ya gone take me, I got my true niggas with me." I did "I don't wanna be here if I don't gotta" from Silkk's Charge it to the Game album. I did the hook for "Just Trying to do something on Ghetto D, with P, me, and Mac on it. I did the hook on "20 Ozs to my Name" on Snoop Dogg's album Welcome to My World. If you heard me on [a No Limit] hook, nine times outta ten, I wrote it. Q: The Can I Burn was your first release after No Limit, but a lot of people don't know about it because it was hard for some people to get a hold of ; what happened to that project? Fiend: It was difficult for people to find because Master P hated on my fucking project. He made his calls to whoever kiss his fucking ass and was fucking scared of him or whatever - to make the project disappear. Maybe I could've been young and misunderstood something where he could have sat me down and said something. The cat told me as long as you don't use my logo print on there, I have no problem with you putting an independent together. So I set it up, do all I gotta do. I get Ms. Wendy Day to help me
get a situation going with Southwest when they were open at the time. I got some great people to help me: Twists, Legit Ballas, Speedknot Mobsters, David Banner, Big Ed - may God rest his dear soul ,and Ward Block, formerly Prime Suspect. All of them dropped by to help me out on that first album. I also did a lotta production on there. I actually introduced my production to the world on that album. A lotta cats didn't know that I've been doing beats for a minute. And that's not just on some hustle shit, ya know how a muthafucka do niggas by trying to sell them some shit that ain't really there. I try to give niggas hits without somebody trying to lie to them.
play with and jeopardize or fuck with my career, and I ain't gonna fuck with yours. If you can't help me then leave me the fuck alone. If I can't help you I'm gonna leave you alone, because evidently you can do good without me and I can do good without you. I learned a whole lot dealing with Percy Miller. I learned a whole lot dealing with Percy Miller, Vashaun Miller and Cory Miller, also known as TRU. I learned a great deal from them and I respect them dudes to this day. But I just don't appreciate P destroying a legacy over egotistical misguidance.
Q: Who have you done production for thus far? Fiend: I've done beats for Jadakiss, Eightball, myself, and a whole lotta independent cats. Q: You were among the first wave of artists leaving No Limit, why? Fiend: I feel like the money wasn't right and he didn't understand…he, meaning P didn't understand what I was going through at the time and regardless to how much of a loyal person I could be, that didn't have anything to do with my household. And if somebody wasn't going to do anything about it, I'm gonna have to do something about it. And that's just how I looked at it. I had to go. I had people who cared about me that advised me that it was just gonna get worse, ya know ? Like I don't have no nasty taste in my mouth about the dude. I feel like he helped me out at a time when I needed it and I appreciate that. I really do. But, at the same time, I feel like... don't
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 07
Marketing & Promotion
Marketing Lessons From An 8-Year-Old Girl ne morning not long ago, when my daughter was 8, I was driving her to school when she asked me to cue up a very familiar song on the CD player. If you have kids, you know that children often love repeated exposure to stuff they like. They'll contently watch a favorite movie over and over again, driving the adults in the house batty from the repetition.
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Well, one of her favorite songs is "Accidentally in Love" by Counting Crows. I like to think she enjoys it so much because I recently played it at a show she attended. But the truth more likely has something to do with the Shrek 2 soundtrack. Anyway, that morning we were on our second spin of "So she said, 'What's the problem, baby' ..." when I finally asked her, "Why do you like this song so much?" Her answer: "I don't know. It just puts me in a good mood." The Light Bulb Goes Off Wow. That might sound like a simplistic answer, but when you think about it, isn't that at the core of enjoyng any type of music, at any stage of life? You
enjoy your favorite music because it makes you feel good. The key words there are feel and good. Generally speaking, music makes the person enjoying it feel good - or better about themselves than they might have before hearing it. There are exceptions: Sometimes people listen to particular types of music when they are sad or angry or not feeling "good." In these instances, people use music to match their mood to cradle and support them in whatever state they happen to be in. But, regardless of the mood, people always use music to "feel," whether it's good or otherwise. But I contend that most of the time people turn to music to feel better about themselves - to, as my daughter says, put themselves in a good mood. Feeling Great About Feeling Good
By Bob Baker
make your fans feel? In what way do you elevate their mood to "good" - or, better yet, great? The answers to those questions can be different for every artist. But asking them and pondering the answers will help you understand the true relationship you have with your fans. Bottom line: Putting more people in a "good mood" will help your music career more than just about any marketing tactic you could ever conceive. Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.
Music fans might say they love an act because of the vocalist's skills or the guitar player's chops or the groove laid down by the bass player. But those things are just the means that lead to the ultimate fan payoff: feeling good. So ... How does your music
08 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
By Anthony Colom anthony@newpowermagazine.com
eah, you’ve read it right. It’s not a mistake. I didn’t leave an O out. I Am God ! And no, I’m not insane. And no, what I’m saying is not blasphemy. Before u jump to your conclusions, read this entire article.
Y
I’m not God the father. I didn’t create Heaven and Earth. I won’t be the one to judge u when Judgement Day comes, but I am God’s son. No, not Jesus; I’m his brother. I am not a god. That implies that there is more than one. There is only one, and I am a part of him. On earth, I’ve taken my earthly father’s name [Colom]. So if God is my heavenly father, wouldn’t my name be God ? Wouldn’t u also be God ? Of course ! U see, we are flesh and God is spirit. We were all put here to do God’s work [in the flesh]. That’s why we have these bodies. I’m not writing this to try and prove anything to u. I’m writing this to declare my “I AM.” In the Bible [ Exodus 3:13-14 ], Moses asked God, “Suppose I go to the Israelites and say to them, ‘The God of Your fathers has sent me to you,’ and
I Am God ! they ask me, ‘What is his name?’ Then what shall I tell them ? He said to Moses, “ I am who I am. This is what you are to say to the Isrealites : I AM has sent me to you.” By declaring “I Am” you’re declaring who u are... God ! U become God. God created man in his image; therefore, we are capable of doing on earth what he has made us capable of doing [in his name]. What other creature on earth do u know capable of imagining something in it’s mind that never existed before, create it, thus, making it a reality. A dog can’t do it. A bird nor lion can do it. Only man [woman]. Whatever u wanna have in life, u can have it, because you’re God. That’s your devine right. We were given a mind for a reason. Whomever u think u are is who u are. What u wanna be is what u will be. The way u see yourself is the way other people will see u. Say you’re a superstar and believe it, and others will too. Walk, talk, act, dress, and look like the person u want to become and u will become that person. That’s the power of being God.
ful business, or even a Bentley, then u must become that new home, that successful business, and the Bentley by declaring that u are that thing. Right now, I’m declaring my “I AM.” I’m declaring that I AM MY HOME. I AM MY VEHICLES. I AM MY BANK ACCOUNT. I AM
THE NEW POWER. Like I said.... This is not to convince u. But whether u believe it or not, the power of my beliefs is unfolding right before your eyes. If God, our father, doesn’t wanna stop us, then we can’t be stopped. Believe that !
If u desire something, become that thing. If u desire a new home, success-
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 09
Industry Veteran
FLX
(Dirty States Of America) By Kevin “K.G.” Gordon
By
now, if you haven't heard of the documentary, "Dirty States of America,” you need to climb out of whatever hole that you've been living in. A native of the Nolia (Baton Rouge, Louisiana) FLX has come from behind the scene at MTV to the forefront of chronicling the struggles and success of the southern movement; giving us a vibrant visual of artists telling their stories, FLX has traveled a many southern roads and highways to give us the truth, in our on words, in our own way, through his DVD, The Dirty States of America. We were honored to get the chance to talk to FLX about his present and future moves with his ground breaking documentary and his company, NoB Production Group. If you didn't know him before, let us introduce you to FLX. Np: What's been going on with you since the release of the Dirty states of America DVD? FLX: Since then, I've moved forward with NoB Production Group. We've put together a DVD for David Banner, and he hasn't released it yet over at Universal. I'm also still doing things over at MTV Networks. I hosted the $2 Bill concert for Kanye West out in L.A., and I have this two-minute spot on MTV Jams, called "Look Around". It's like a small documentary series on different things that are going on. Also, I have the 8ball & MJG doc that's going with their next album, coming out on Bad Boy. We just finished that up. Those two projects, the MTV Jams, and 8ball and MJG have really kept me busy, but as soon as I get finished with the Ball & G, I have a couple of things on
the slate. I talked to Gangsta Pat out of Memphis, we're going to work on something. But first I'm headed back around the globe to make sure everybody’s on the same page. 2007 is about to be a monster. Hopefully, I can just keep jumping around to the people I really want to work with and get behind a few people who need it. I'm also working with a lot of people in Atlanta; this kat out that Temp called Yola, I'm working with Killa Mike and Bohagon. I got SAVAGE out of Baton Rouge, "the next Big Thing". Basically everybody in Baton Rouge that got they mind right, cause if it aint obvious yet, we been influencing a lot of the shit going on right now. Listen to these producers, Listen at the rappers; yall niggas know Baton Rouge. But with this next Trill release, Boosie shit bout to hit the fan. Baton Rouge comin’, man, and it’s good to see, because I been telling people for years now. And at one point I felt like, damn, I'm just going to have to pull a David Banner on everybody. But Trill, Max Minnelli, Weebie and a lot of other niggas are steppin up where big C-Loc and Youngbleed were our front-runners. They set the tone for Baton Rouge. After “A Fool Name Nero,” Savage's DVD, "The Next Big Thing", KLC, and the Medicine Men, everybody dat fuck wit me from dat N.O., man.... we aint even in 3rd gear. My man Dec, out of Jackson, Smoke D., Fiend, and one of my partners, Craig Carter, he did his DVD, so I 'm going to be working with that situation. Just from there, I want to help everybody down here get their stuff up to par so we can get out our messages more and keep communicating with each other more. You know, its war time. Np: Are you going to primarily keep doing documentaries or will you venture into movies and videos also? FLX: Man I'm going to touch movies and everything, it's just I'm really trying to get my bases together with my production company NoB Production Group and NoB Communications. I want to touch everything, but I got to do it in it's own rightful time. Np: Will there ever be a second Dirty
States of America? FLX: Right now, I'm working on Dirty States Express. You know, something to get it out there, keep it going, and keep that state of mind out there. But as far as # 2, I probably won't touch it for another two years, because I can take that same product right now and keep putting it on the shelf and it will sell and people still haven't caught up with everything. Then like the saying goes, “If one eat, then we all gonna eat.” We still all ain’t eating. Alabama ain’t eating like they're suppose to. Mississippi, Arkansas, Carolinas, Florida, Louisiana, we still got a bunch of wheels that ain’t come together, yet, so we can roll as one unit as we should be. Texas has the best idea of what is possible. Oklahoma ain’t broke out there yet. Virginia is doing a hell of a job. I didn't get the chance to go to Virginia like I should have, Np: Is the length of time between the 1st one and the 2nd one because you want to see what will happen in that amount of time? FLX: I'm really trying to make sure I make the right decision with time and money. The first situation, I really just let myself be pimped for that first Dirty States and not everybody knows the real story behind everything. I took a loss for that, but I didn't care because I really wanted to get the message out there and let people see for themselves what's really going on down here. I want to get it to where I can control it myself and make sure it's coming from the people, and actually, I'd like to make sure that the artists see more from the project this time. I want to make sure its marketed the way we need it to be marketed. But if I could do it over, I wouldn’t change shit. We in this beesh nah mane. Np: Anything you want to say before we go? FLX: Thanks to The New Power Magazine for the support. I’m here when u need me. myspace.com/flxderte and keep ya head up and black man. Please go learn your history before you get your head knocked off.
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 11
Interview by Charlie Braxton Photo Courtesy : Overdose Entertainment
Limit Records’ meteoric rise to the top of the rap and pop charts is nothing short of spectacular by anybody's standards. From 1996 to 1998 the black-owned independent label went from being a small struggling label to becoming a major player in the music game. During this time period No Limit sold over 40 million albums. With almost every record released during that time period reaching gold or platinum status, it seemed as if the Louisiana-based company could do absolutely no wrong. And for a while they didn't. But something did go wrong for No Limit; by 2000, sales figures
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began to drop dramatically, indicating that perhaps No Limit's tank was running out of gas. For instance, that year, Master P's LP Only God Can Judge Me, only went gold after spending months on the charts compared to his previous solo effort, "The Last Don," which sold over a million copies. To add to No Limit's woes, the label lost it’s key asset, the stellar multi-platinum production team formerly known as Beats By The Pound.
Limit's gold and platinum hits. But things began to go sour for the Pound in the latter part of 98, causing them to go on strike and eventually leaving the house that they helped build. In an exclusive interview with The New Power Magazine Craig B, Mo. B Dick, and KLC finally explain why they left No Limit, as well as talk about their production venture, The Medicine Men, their label Overdose, and KLC's upcoming album- The Drum Major.
Founded by senior members Mo B. Dick, (Master P’s first cousin, who now goes by the name Ruh), KLC, Craig B. and Odell, the Pound is responsible for well over 90% of No
Q: KLC, I understand that you had your own label prior to coming to No Limit, tell us about that? (Continues on Page 14)
12 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
The New Power Chick
RITA G. / HOUSTON, TEXAS “I love depriving people the opportunity to look at my ass in public. Is that stupid? I don’t know, but I get a really big kick out of it. It’s like a game ; and when I am successful, I feel like Shaquille O’Neal blocking an attempted dunk. Get That Shit Outta Here ! It’s hilarious to me when I watch men ; they see you coming from the front and they can already tell when a woman is packing from the way her hips are shaped. I’ve passed men talking on a cell phone and they’ll literally place the call on hold to take the opportunity to see me walk pass and appreciate the view. Uh.. hold on for a minute I’m preoccupied over here. Okay, I’m back. Then you have guys that try to time it all perfectly when you walk by so they can swivel their head at that precise moment and catch that oh so round and juicy profile which is the angle of all angles if you catch the right chick, and oh soo satisfying the longer you can peep it until she walks out of view. But of course, if the booty was truly ALL THAT, then you can hold onto the image in your head a little longer than the five seconds you normally allot before another tight round one walks by, and like busses, there’s always another one just around the corner.” WWW.RITA-G.COM
MYSPACE.COM/RITAMANIA
NO LIMIT RECORDS : What Happened To The Tank ?
“We made attempts to contact Master P. for his version of what really happened to No Limit Records, but we were unsuccessful.” - Anthony Colom Publisher
(Continued from Pg. 12)
KLC: Well, it was like way back in 91, 92 and I had 6 Shot on my label, Soljah Slim, Mystikal, Serv On, The Hounds from Girtown, the 3-9 Posse, and Juvenile was rolling with us real thick. He was damn near like one of my artists. Q: And all of these artists with the exception of Juvenile, the Hounds from Girtown and your current artist, 6 Shot eventually wound up affiliated with No Limit. My question is what made you leave your own label to join Beats by the Pound and start producing for No Limit exclusively? KLC: Back then we had the artists but the funds weren't right. Everybody wanted their issue, but we weren't financially able to do it
so we had to branch out and get it how we could, but it was understood that once we got it, we all was in with it. Q: How did you and Mo B. Dick first hook up? Mo B.: Man, me and KL been knew each other before Beats by the Pounds. I was doing some things in a small town called Morgan City. We were on the hip-hop vibe out there. They came and did a show out there in my hood. That's when I first met KLC cause I had just bought the MPC 62 and they had just gotten it too, so they had theirs on the road with them studying how to operate it. That's how deep muthafuckas was in the game back then. When I met him backstage they were doing a sound check, plus he was DJing for for my rap group,
Top 5 Reasons The Tank Ran Out Of Fuel : 1. Beats By The Pound Left They were the signature sound, and No Limit’s music was never the same after they left. 2. Master P. Left To Go Play Ball In The NBA He was no longer in control when he left. Bad decisions were allegedly being made. 3. Loss Of Quality
Critical Condition, Control cause we didn't have a Too many records DJ. When I went to were coming out, and not all were Oakland in 95, I was talking to KL over the good records. phone because me and Serv-On were trying to 4. No Limit Lost Key Artists And get him to come out Personnel there and do some Beats By The tracks. Back then it Pound, Snoop, was all about fellowMystikal, Fiend, ship and putting New and a host of others left. Orleans on the map. Q: So you all actually knew each other before Master P. stepped into the picture? Mo B.: Yeah. KLC: We didn't know each other as far as conversation, but we had met. Mo B.: But when he got up there we got real tight because we was sleeping right along side the fucking equipment; that was our bedroom.
14 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
5. The Rise Of Cash Money Records P., Baby, & Slim didn’t get along and collaborate. Had P. had a good working relationship with them, their artists could have worked together, and he could have bought tracks from Mannie.
Q: Okay, the popular conception has been that P organized beats by the Pound, is that true? KLC: Fuck naw ! Beats by the Pound came up when we knew that we were both going to produce for this dude. It was a Sunday evening and we didn't know anywhere to go in Oakland because we didn't have no transportation to even go anywhere to even find out how to get to places. We were just up there making beats, and I was like... man we need a muthafucking name for our production group. We live by the 808; that’s where the pound comes from. So I said you know what, we gone call ourselves the Pound. And Moby was like... fuck it, we gonna be Beats by the Pound. Q: What was the first record that you all produced under that name? Mo B. : Bout It.
Mo B: At that point we were already in-house producers. P had already called me and Serve-On Up there, and Serv and I beckoned for KL to come out there to take part in what we were doing, because P really had a movement. He was on a mission. It was like an army that he was recruiting so we were like the draftees. Q: Who was next? Mo B: Next came Craig B. Craig: I had given Serv-On beat tapes to rap to when he was going from Richmond to New Orleans. Plus, I had done some stuff for Mia X back when she was doing her thang on another Independent label. Serv gave the tape to P and he had me do some songs and it got to a point to where P asked Mo B. and KL if they could deal with me. They said yeah.
KLC: And he got a lot of shit out of us that he wouldn't get out of anybody else. Shit that we did then that he'll never get out of anybody else again. And that's sacrifice. Mo B: Yeah that was one of his words. KLC: But he didn't have to preach that to us. The minute we had conversations and talked with him about the situation, I left my family for a year to go to Oakland from New Orleans to help build No Limit. I seen my family on holidays. When I left my kid she was like going on a year old. Shit like that you can't buy that. Mo B: Money can't bring that back. It's not even a money issue. The thing is, we had an understanding that there would always be a better day. We had faith. We lived off that.
KLC: Yeah, that was the first song we ever recorded with him. That was on the very first TRU album. That's the one when King George was with him. It just so happens that the two songs that Moby and I did was the two songs that carried that album. Mo B did a song called "Fuck Dem Hoes" and I did "Bout It."
Q: I heard that you all did the first few albums for No Limit without getting paid?
Q: What was the last record that you all did for No Limit before you all left?
KLC: We did about 10. They were: "Good Girl Gone Bad," "Ice Cream Man," TRU's "True", Skull Duggery, Tre-8, Kane and Abel's first No Limit LP, Sillkk The Shocker’s album. We also did the "I'm Bout It" soundtrack and a track for the "Substitute" soundtrack.
Q: And that's when the hits really started to roll in for No Limit, right ?
Q: How were you all surviving doing all of this free work?
Mo B.: Right. P always had a following, but he was never really big down South prior to "Bout It" He had Mid-West and Bay Area/Cali audience basically. With "Bout It", P found his identity.
Mo B: Oh, P was furnishing a little something for us to live off of. We had already agreed at one point that we were helping to build a company. We were a part of the mechanics of building a company. That’s what you have to understand. We were a part of a vision.
KLC: The last album we did was in 98 and that was Mystikal's "Ghetto Fabulous," which went platinum off one single. After that stage, it had gotten to the point where everybody had to branch out and do their own shit. That's when C-Murder went with his own producers, and Silkk started working with a lotta other producers. By them reaching out to other people, that kinda fucked up the chemistry. It's not the regular plan that we went to. Everybody wanted to get they own shit. Silkk had his producers that he had from California. C had his producers that he was still working with out here; that's Keno and some other people out in California. (Continued on Page 23)
Q: Were you all officially signed with No Limit then?
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 15
YOUNG DRO
all know the slump that the game has been in for quite Best Thang Smokin’ / By James Johnson some time. Of course, there's much more than a handful of artists in the ost people industry that don't really perwho dream of sonify what hip-hop should. being a bigThe biggest difference with time rapper Dro from the others out there see it as just is definitely his style and perthat, a dream. While they sonality. While life growing up long for the success and haphasn't always been a picnic, piness that comes along with he doesn't force-feed the negbeing a hip-hop star, they tend ativity in his music. Sure, he to look at things more realistimake's his struggle known, but cally, and sometimes look at it that's as far as it goes. While as being to far away to reach. he offers a pure message in Dro may have started off that his music, he still makes a way way, not taking hip-hop as serito relate it to today's young ously as he should have, howsociety without coming across ever, a love for the culture as preachy and overbearing. eventually grew. Entrenched in At the same time, he's having the inner-workings of hip-hop fun. If you saw the VMA's this as a youth, he would soon year, or even his video for develop a fire for the craft like "Shoulder Lean" for that matno other. Then, he knew the ter, you know just how much day would come for him to fun he's having. captivate the world with his flow. When best friend T.I. We finally made it to the limelight, recently he promised Dro that he'd be sat down back for him one day to make and talked his dream as much a reality as with Dro his own. about everything Once the blueprint for Grand leading up Hustle Entertainment was to now, solidified, T.I. indeed kept his including his album and what's promise and went back for to be expected, his duty Dro. Since that fateful day, Dro toward T.I. and Grand Hustle has been in the lab crafting his Entertainment, and his desire debut offering, "Best Thang to direct. We also get him to Smokin". Fans have already shed some light on a few regarded him as just that ! things outside of his music, He's released a slew of mixsuch as his love for cartoons, tapes, already, that have perand his knack for fashion. Dro sonally introduced him to hipis an open book, and you'd be hop fans. His lead single, crazy not ton flip through the "Shoulder Lean" has been pages. tearing up the charts since its debut to radio and video netThanx for your time today works. The world has been man. praising Dro for his style and persona, and rightfully so. He's Young Dro: Oh yeah, no probarguably one of the best things lem man. to happen to hip-hop lately. We
M
So the first week's numbers are out, and you're slamming the competition. How does it feel to reap the big rewards of the industry so early in your career? Young Dro: Man! It feels good ! I think I been in my own time. I've been working extremely hard for this. I would say that I need this, you know ? It's cool. Naturally, a lot of people were expecting you to do well because of your link to T.I., but were you expecting the big success so early on? Young Dro: I would say yeah. I was in a nice position. All the years that I've been trying, I was finally in a good position. It just so happened that my friend was in a better position, and he opened the door for me to walk in. I think a lot of your success is due to your personality displayed not only in your music, but also when you do press appearances and performances. Even with Shoulder Lean, there's just this feel of fun with the whole video, and you and Tip dancing. Young Dro: Yeah man, it is a fun feel. We tried to keep it fun, and do stuff that most other people wouldn't necessarily do. So talk to me about the album. Young Dro: Man, it’s one of the hottest albums to drop this entire year. Make sure you get a few copies. You can take it home, then have one in the living room, or whatever. (Continued on page 22)
18 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
YUNG KEE
W
the hottest around Memphis, and in the game.
hat’s happening kee ? I’ve heard your name and music before, but being an independent artist, there’s gonna be some people who don’t know u or your work ; so tell us something about yourself.
Who produced these new tracks for u ? Well, the On The Prowl track was produced by Young Juve. A lot of people know him cause he did the “Ridin’ Rims” for Dem Franchize Boyz “She Got Me Hard” is produced by Montana Trax. He’s signed to 8 Ball’s (8 Ball & MJG) label.
Well, I’m Young Kee. I from Memphis, but I grew up in Benton County, Mississippi (around Ashland). I got started with my cousin them, up here in Memphis. We had a little group, Highlife Klan.My uncle was always doing music around the house. My dad, he always played with major bands around the world. So I was always musically inclined. It really just started from there.
How’s it been trying to get your feet wet in the game up in Memphis Until u do something to step over, people don’t wanna pay u no attention. It’s not as hard as it was when I first got up here. I recently opened a club. When people start to see u as being more business oriented, they open up and wanna deal with u a little more. My album, Perfect Timing, will be coming at the beginning of the year. Hey, tell everyone to get my ringtones, text YK3 for “Rock Star” and YK4 for “On The Prowl”, and YK5 for “I Bet They Move”. When u text the key words : YK3, YK4, or YK5, text it to 54545. Then that’ll pick the tone that u want. I also have a myspace.com page at : myspace.com/yungkee
I hear you’re workin’ on something new ? Yeah ! I’ve got a new single. It’s called “On The Prowl.” I’ve got two, actually.. The other one is “She Got Me Hard.” “On The Prowl” is like a follow-up to the hit song that me and Criminal Manne had out, called “Tryna Buss Sumething.” Are u featuring anyone on this new single ? Naw. this one is just me. I’ve done quite a few features, from Pastor Troy and Criminal Manne, to DJ Squeeky, Indo G., and
By Anthony Colom
Gangsta Boo; u know, some of everybody. Some of
Outrageous Marketing Ideas not sure exactly what triggered it, but recently my mind started popping with creative, off-the-wall ways to promote your music. So I jotted down some notes and am sharing them with you in this article.
I’m
I'll let you determine whether these are truly "outrageous" ideas. But one thing is for sure: They certainly aren't the traditional things that most musicians think about when they do marketing. Ready ? Here we go ... Outrageous Music Marketing Idea #1 Turn Yourself Into a Happy Meal I definitely advocate that indie musicians *not* try to emulate the same tactics as the major labels. However, there are times when you can take one of their ideas (or an idea from a related entertainment industry) and give it a small-scale spin. You know how the major film studios promote their new animated features by tying into fast food chain kid meals, such as the McDonald's Happy Meal. Most likely, you won't be able to land a nationwide Happy Meal deal. But you might be able to do something cool with a local deli or restaurant. I know a couple of radio disc jockeys in my town who have sandwiches or special meals named after them at certain eateries. Why couldn't you do that? Especially if you perform regularly at a particular coffee shop, bar or restaurant. For example, if your band is called Sweet Potato Sunrise, approach a manager with the idea of offering a Sweet Potato Sunrise omelette, or a Sweet Potato Sunrise latte, or a Sweet Potato Sunrise daiquiri? You get the idea. The special name would get you
Attention: MISSISSIPPI ARTISTS ONLY !! The Mississippi Movement 2 is on the way ! The cd will be a double disc cd (Rap & R&B compilation style) and will possibly contain 50+ songs combined (3 minutes max on length of song). Artists may submit their songs to : music@newpowermagazine.com. There will be a sponsorship fee of $50 if your song is chosen by the staff (only one song per label or group)
By Bob Baker
exposure at the establishment whenever it's open (hopefully, you're item will be listed on the menu). Plus, you can use the unique promotional angle to get mentions in the local press. Outrageous Music Marketing Idea #2 Become an Instant Cult Classic The success of the quirky film Napoleon Dynamite has me thinking. The movie itself is still growing on me, but I'm fascinated by the buzz it has among people who really connect with it. Most of my friends who rave about it have seen it numerous times and claim that the more they see it, the more they appreciate and enjoy it. What a nice position for a filmmaker to be in. Admittedly, a lot of people don't like the movie and its flat characters at all. But those who do appreciate the film like it a lot - and preach about it to their friends, memorize lines, encourage theatres to have midnight showings, etc. How can you tap into that? It's hard to manufacture cult status, but here's an idea: What if your music CD came with an accompanying trivia game? And what if the game tied directly into the theme, style and lyrics of your music? The game instructions could be included in the CD sleeve or delivered separately to everyone who bought one. Or, to make a greater impact with the trivia game idea, you could package the CD in a DVD case or even a small retail box. To make this work, you'd have to come up with a cool, interactive game idea and have a CD filled with interesting, funny or insightful lyrics and music. But if you can get people examining the nuances of your material and sharing notes with other people who are memorizing your stuff, you might have some powerful buzz going for you. www.bob-baker.com
and for that sponsorship fee, the artists will receive 25 copies of the cd and their song will be promoted on over 5,000 copies of the cds that we will be giving away at the Southern Entertainment Awards in January 2007. The remainder of the cds will be given away to radio jocks, djs, labels, and at other various events and conferences that The New Power staff will be attending. This cd will also be promoted in The New Power Magazine and on the website. The deadline for songs will be December 15, 2006. For more info contact us at : info@newpowermagazine.com or 404-388-1251 or 662-251-0075 Be on the lookout for your state’s mix cd Coming Soon !
www.newpowermagazine.com I The New Power Magazine I 21
(Young Dro, Continued from Page 18)
I’m talking about real stuff on the album. I teach y’all how to cry. A lot of people scared to cry, but niggas can cry, too. It’s real hot. There’s a track with Jazze Pha called “What It Is”, and it’s fresh. Nitty got a track. The album is just hot all the way through. On all of my songs, there’s a different vibe. Sometimes you’ll find a lot of artists that stick with one sound once they see that it’s working for them, and it’s like they become scared to expand. What can people who have not heard the album look out for? Why should they get this, as opposed to what else may be out there in stores? Young Dro: Pork & Beans and Bumble bees man (laughing); it’s just different. I’m one of the most charismatic people in the world, and you’ll see that on this album. I’m looking for good people who make music. This ya lil’ homie Dro. What tracks on the cd are your favorite, and why? Young Dro: I would say number one is my favorite, “They Don’t Really Know About Dro”. And it’s because they don’t. This song introduces me in the most incredible way. Some of the metaphors, that’s one of the best songs on the album. Obviously, with the success of the album, you wouldn’t be expected to have very many regrets about anything, but were there things you wanted to do this time around that you didn’t have a chance to do? Young Dro: Well, if anything, I wanted to have more songs. That was it. I wanna be, you
know, really creative in my videos. I have a motion picture mind. My videos could be off the hook. I could direct something. I can act, but I would be better directing. Do you feel like you would do anything differently when you record your next album? Young Dro: Well for starters, I’ll be older (laughing). It’ll be certain levels I may not touch. What was T.I.’s expectations with your album? Like, was there any kinda pressure at all for you to do well? What was the recording process like? Young Dro: He expects it to do well. He stood up for me, and because of that, I got to represent for him. And it’s all so that I can perform on Billboard, VMAs, and so forth. Speaking of which, how was it for you to be performing on the VMA’s? Young Dro: Man, it was unbelievable. I can’t ask for a better summer man. How would you say that you were, along the lines of being a perfectionist? Did you find yourself going back in to redo songs, or scrapping a lot of material along the way? Young Dro: Naw, when I do a song, that’s it. It’s art. I had like, the satisfaction of being in the studio, and nobody bothering me. I sit down, and when I write, I dedicate my time. I’ve been doing it until I had sores on my hands. I like the respect that I get.
road, doing shows. What else is coming up for you in the line of promo for the album? Young Dro: I’ve been on the promo tour for a minute. It’s been a lot of fun. I got sick at the end, but we’ve been to a lot of places. I can shake hands, kiss the babies. People have been wanting to see me all year round. I hear that in your spare time, you get into a lot of cartoons? Young Dro: Oh man, yeah! Let’s see, I’m into the Boondocks, Family Guy, Futurama. I got a dvd portable, and I’ll pull it out in odd places (laughing). It feels good man, and most importantly, it keeps me grounded. Then it has also become evident by your appearance in photos that you have a flare for fashion. Tell me about that? Is there a line coming? Young Dro: Well honestly, I’d rather model, instead of coming out with a line. I wear the hell out of some clothes man : Ralph Lauren, Linen, sports stuff, a suit, you name it. On the red carpet with purple. I can put it on and sell it. I want to model some of P. Diddy stuff. We cool, so I’d do some of his stuff, and some of Rocawear stuff because me and Jay are cool. Holla at Young Dro.
Well I know you’ve been killin the crowd out on the
22 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
(The Medicine Men, Continued from Page 15)
Q: I remember you telling me that you all didn't produce all of the Silkk's Made Men LP. KLC: Yeah, We produced less than 50% of that album. A lotta the songs that made that album were songs that we just did. They weren't really meant for the album. Q: But the credits on the back of Silkk the Shocker's Made Man LP said produced by Beats by the Pound. Most fans know the Pound to be Mo B. Dick, KLC, Craig B, DJ Carlos, and Odell. Were there other members that we didn't know about? Mo B: They're imposters. There were people who were there under false pretense reaping the benefits off our name and reputation; therefore, we killed it. Beats by the Pound is dead. Q: Earlier you said that Beats by the Pound is dead, is that because P owns the name? Odell: Yeah, he registered it just after we left. Q: Now you call yourself the Medicine Men, what’s the concept behind that name? Mo B: Really, how that came about... we use to critique each other's beats. KL used to be like yo, how this beat sound? If it was tight I'd nod my head and make the ugly face and say yeah that's that medicine. It became commonplace because the Pound had our own lingo cause we were really in our own zone. It was like we was in No Limit but we was in our own world. Nobody could get into the mind of a producer. So that name medi-
cine has been in our realm for a little while. KLC: We also had this term for every beat that we did that was dope we'd say it was sick. That was our term for a dopeass beat. Mo B: And we were known for that sick-ass dope shit. And our beats had become infectious to where it's like a disease. They should've never gotten a dose of "Bout It." They should've have never gotten a dose of "It Ain't My Fault," or any other beats. We know that our sound has been imitated but not duplicated. You can't duplicate what we did. Now that’s fact. We knew that once we were absent, people are going to be tweaking just like crackheads. In other words they're addicted and they need another hit. They've OD; they've had an overdose of the old shit. They still playing the old shit in the clubs now. They still playing "Bout It." They still playing "It Ain't My Fault." They still playing "Making Moves." They still playing all the soldier shit. With that notion, we were like, okay, man these people need that medicine, you know what I'm saying? So we're the Medicine Men administering the antidote to the crack that we put out. Q: What can we expect from Overdose Records? KLC: I can't tell you what to expect, but I can tell you what no to expect ; no bullshit ! Nothing weak on the mic. Q: Okay, tell me, why did you all leave No Limit? Was it a matter of money? KLC: I'm gone honestly tell you from my point of view that has some part of it. It's just that
simple. We sold 40 million records. That's 400,000 dollars. It's not like we're doing bad now, but at the same time, if you owe, you just owe. It came to a point to where we still tried to work the situation out but certain things came to certain things and we had people within us that was disloyal to us. Q: Would you tell us who that person is? KLC: Man, I don't give a fuck. You can quote this. It came to the point to when we were trying to work things out with P, there was five of us in the Pound. That was Me, Craig B, Mo B., Carlos and Odell. Now for the record, why we left, the main reason, like Moby said, it wasn't all about the money. We received a contract that wasn't right so we refused to sign it until it got right. At the same time, Carlos called his lawyer to look over the contracts. Now the same dude that's P's head producer right now was the one who called his lawyer to check on the contracts. He faxed like 30 sheets from my house. His lawyer called us back over at Craig B's house. He said if yall sign these contracts yall some dumb muthfuckas; yall stupid. This contract doesn't benefit yall in any kind of way. Now this is Carlos’ lawyer. It was his idea to call him in the first place. Then he winds up working for P. KLC: Man we not gone call you down here and say, man, muthafuck P and all of this and that. You ask the question, we gone answer them. We ain't got anything against P. As of right now, we can't fuck with P as far as doing beats for him. But who’s to say that we won't do it two, three years from now ( Go to page 30).
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 23
SO SUAVE RECORDS
YOUNG ENT MONTGOMERY, ALABAMA
W
hat’s going down, man ?
Walker at So Suave down here in Montgomery. I just signed on a couple of weeks ago.
What’s happen-
ing?
Exactly how young is Young Ent ? I’m 21, been rapping since I was 13. I been doing this for a long time.... just tryin’ to find a label. Then I hooked up with
What made u sign with him rather than another label in your area ? What he offered me was good. It wasn’t nothing too difficult. It was just something real simple. I’m gone put my album out, promote it, and make both
of us some money, man. Being a young cat from the South, were all of your influences southern artists ? Nah, I got into it around the time when Tupac and Biggie were hot, Jay Z was just coming out. But u know, I was into Outkast and UGK also. Artists like that.
Let’s talk about the album u spoke of earlier.
Describe the feel of this new album.
Whole Notha Level, man. We looking to drop it October 20th. It’s about 17 tracks on it. My side group, GBC, they gone be on the album along with a couple of more artists from here in Montgomery. My main producer, Crown J., handled the production. He did like 60% of the album, and this dude named Classic, he did the other 40%.
Awh man ! It’s got a southern feel to it, but it’s something everybody can relate to. When I grew up, I was listening to Jay Z, that up North rap. It ain’t on that crunk tip. It’s some feelgood music though. People tell me that I have an up North style with a southern accent.
Montgomery has and has had a few names making some noise in the past 2 or 3 years. From Dirty to Khao. Give us an idea as to what the music scene is like in Montgomery, Alabama.
Yeah, this is my first one, but I’ve done a couple of mix cds in the past. I dropped a couple of singles, too, but they didn’t really do too much.
Everybody’s out grinding, man. It’s kind of every man for himself out here. Know what I’m sayin ? We do get together from time to time and do shows. Everybody’s just tryin’ to make money right now. Yeah, we got a lot of groups out here man. I can’t even name ‘em all. What are yall looking like as far as making some noise nationally ? It always seems like it’s bout to pop off for us. We got Small Tyme Ballaz... they workin’ on gettin’ them a deal. A group that I work with called Southern Boyz, they bout to release their album. They got some features from Pastor Troy, Bun B., and some other folks on there. Got any upcoming shows to promote the album ? Yeah, we workin’ on that right now. We wanna hit Georgia and Mississippi with it. U know, the surrounding area.
This is your first full-length album, right ?
ing me some love. Walker, tell me about your label, So Suave. Yeah, we got 4 artists right now [including myself]. I’m working on a fifth. I realesed a cd back in 2002 with a buddy of mine. I went off to school, but we’ve just gotten serious with our label this past year. I built a studio here in Montgomery. Who are some of your artists that we should be checkin’ for ?
Do u or the label have a website that our readers can go to to check out some of your tracks ?
We’ve got Profound from Cinncinatti. He’s got a unique sound. We’ve got Banks. He was a dj for me. He and Profound will both be releasing in January, Young Ent in October, and I’ll probably drop something in January, too.
Yeah, we just put one up at www.sosuaverecords.com
And your stage name is what ?
Is music a full-time business for u ?
T-Walk.
I’ll probably be going to school soon to take some music media classes so that I can get behind those boards. U know, u can’t rap forever. I just love music. The dee jays in Montgomery... are they standing behind the local artists and tryin’ to break new music ? They show us love in the clubs, but it’s all about who u know. They’ll get a song or two from u and play it in the clubs. Even tually it’ll get to radio. U know, it’s a hard thing gettin’ on that radio. I get a little play on the radio since I won the local Battle Of The Beats 3 consecutive nights. I got some dee jays I know up in Birmingham show-
How many projects has the label released ? One officially, but we’ve dropped some mix tapes. What’s your direction for the label ? We’ve got 5,000 Suave promotional discs coming in October, as well as Young Ent’s record. We’re looking to get distribution after this project. For more info, contact : Walker Stripling (334) 221-8481 www.sosuaverecords.com myspace.com/youngent By Anthony Colom
(662) 251-0075 www.newpowermagazine.com I The New Power Magazine I 25
JIBBA JAWZ / Miami, Florida
Genre : Hip-Hop / R&B Producer Label : Shok Entertainment Website : www.shok.net
KILLA KATT / Montgomery, Alabama
Genre : Hip-Hop / Rap Label : Long Money Entertainment Website : myspace.com/killakatt334
BLAZE / St. Louis, Missouri - Nashville
Genre : Hip-Hop / R&B Label : Brownwave Entretainment Website : www.blaze314.com
BIG FRUIT / Aberdeen, Mississippi
Genre : Hip-Hop / R&B Producer Label : Southern Boy / 3535 Entertainment Website : myspace.com/bigfruitbeatz (Producer of Cadillac Don & J. Money’s Peanut Butter and Jelly) 26 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
Photo Courtesy Virgin Virgin Records
D
az may be on top of the game and rolling with some of the best in Atlanta, Georgia these days, but things haven't been quite as peachy for this west coast playa over the past few years. He's seen his share of struggle and strife in this
game, nearly falling into a slump for a few years. We first met Daz 16 years ago when he was a major fixture among a host of power-players at Death Row Records. All seemed in order in the beginning, however, as Death Row began to crumble in the late nineties, so would his career. The real trouble would all begin with the splitting of Tha Dogg Pound some years ago.
While his relationship remained tight with Snoop Dogg, things fell apart between he and Kurupt, to say the least. During the time they were apart, Daz stepped his game up, becoming one of the most sought-after producers on the west coast, as well as one of west coast's most successful independent artists. It wasn't until almost two years ago that he and Kurupt
reunited, and reformed DPGC. Since then they have dropped two critically acclaimed albums. That isn't the only good thing going for the man millions of fans know as Dat Nigga Daz. Around the time that he and Kurupt reunited, Daz also pledged a new allegiance, this time in an entirely new territory. He signed an all-new solo deal with Jermaine Dupri & So So Def. While many didn't understand how the connection would play out, Daz has shown us all just how compatible he is with the South, and just why his expertise is going to catapult So So Def to the next level. Daz talked with us about all he plans to do to increase both his and So So Def'’s stock in the game, and he tells us why this new deal with a major label was necessary, even with his increasing success as an independent. With a new album coming, as well as many projects he's handling production duties on, he has more than proven that he deserves to be referred to as "So So Gangsta"! First off, thanx for your time today man. Daz: OH yeah, no problem man. So what's been going on with you over the past few months? Daz: Man, I've just been grinding out this new album, So So Gangsta, and then I've just been touring and what not. How did it feel to get the response you've been getting by doing another Dogg Pound album? Daz: Really, I think that it's exactly what the fans have been waiting for. They were waiting for it, and it helped us, too. Not only did it bring us back to our core fanbase, but it also put us with the youngsters of today.
So now you're with So So Def as a soloist. How did you end up getting with Jermaine Dupri in the first place? Daz: Well me and Jermaine Dupri, we've been friends since around 1992, back when he was doing Kriss Kross. One of the homies from Kriss Kross was my partner as well, so I've been knowing Jermaine since then. Now , you know a lot of people are wondering why you would want to sign with So So Def. And nothing against them at all, but you've been doing things on an independent level for so long, and you've gotten so far and grown so much with it. What made you want to go major, now? Daz: Believe it or not, things will work out even better for me this way. The major will do all of my promoting for me. From this position, all I really have to do is come with my best work and put together the best project that I can. I got about 17 titles to my name, so I'm doing good. This is just a way for me to set up the future. Now clearly, So So Def has been around, and they've stood the test of time. What do you feel like you can do for So So Def to catapult them to the next level? Daz: Honestly, right now, it's about the streets and the grind. They've definitely been banging out music for the longest time now. As far as getting them to the next level, I'm producing, and I'm grinding hard, so the union will be good for us. I'm glad you touched on your production duties, because I know you're like the guru of production now. Are you going to be producing for all of the artists on the label? Daz: Yeah, I am producing for a few people. I've done some things so far for Young Capone, and I have
a song out there on the net that I'm pushing now. I'm already done with my album, so I've really been getting back out there and getting into producing more. So talk to me about your So So Def debut. It's like we know what we get from you normally, but now, it's kinda different because you're on a southern label now. What should people expect? Daz: You're right, but at the same time, if people have heard "On Some Real Shit", then they have a good idea of what to expect. So what’s up on the tour front? Are you still out doing shows with Kurupt? What about shows for your new album? Daz: I've been on tour. We're actually already working on another new Dogg Pound album. Wow, already? And has a date been set for that release yet? Daz: Right now, that's set to drop on January 2nd of next year. It's different too, because it's going to be a DVD album. All fresh songs, and it'll be 10 on dvd with a movie included. But what about "So So Gangsta"? When is that out? Daz: My album dropped September 12th. So what else has been going on? Daz: Lately, I've just been hooking up with different movie producers. I've been working on a movie called "My Summer Vacation". It's something I got from Ice Cube's "Death Certificate", but we actually lived it though. So I'm just trying to get it cracking with that. Are there any final comments at all? Daz: It's a big thang going on here on the west coast, and I'm just glad to be a part of it. I'm one of the leaders though. Then, I got this new thang with So So Def and Jermaine Dupri. www.dpgrecords.com
28 I The New Power Magazine I www.newpowermagazine.com (662) 251-0075
(Continued from Page 23) But as of now, hell no ! Q: KL, what's the name of your album? KLC: It's called The Drum Major. Q: What can we expect from it? KLC: Well, I have my click on
it. I have Serv. I have Six Shot. I have T-Knock. I have Beautiful, Don Yute, and I've recorded songs with Max Manelli, Lil Boosie, and Lil Jon. And I'm hollering at Pastor Troy and Drama people. Plus you're gonna have Mo B., Craig B. and Odell doing production on it. Oh, and Fiend is on there also. I definitely can't forget Fiend, because he's going to have one of the biggest songs on my album.
This is definitely going to be a DJ's club record. It’s going to be the kind of record, where, if a DJ's getting tired, he can put on my record and let it ride. It's definitely going to be like that shit you heard in 1997 and 98. It's going to be well-rounded and balanced. Anything that you might want to hear from a good album will be on there. It's that fire !