– “Feel Good Hit Of The Summer 2″

• Feel Good Hit Of The Summer 2

– “C’mon”

• C’mon

– “White Noise”

• White Noise

– “Millie Fell Off The Fire Escape”

• Millie Fell Off The Fire Escape

– “Mother’s Day”

• Mother’s Day

– “They Always Know”

• They Always Know

This man is currently one of the best, yet one of the most underrated beatsmiths doing it. He dropped an amazingly dope album White Van Music last year on Rhymesayers Entertainment and has an upcoming album in the works with Freeway (that shit is gonna knock!!!!!). He has the great ability to produce for all types of artists. These are some of my favorites…

De La Soul – “Rock Co.Kane Flow”

• De La Soul – Rock Co.Kane Flow

This is that shit! From one of the most criminally slept on albums of the last 10 years, De La’s 2004 The Grind Date, this song pulsates with the weird brilliance that both De La and guest MF Doom have made careers of. But the star of the song is Jake’s production.

Freeway – “Blauh”

• Freeway – Blauh

Everyday last December the “Philly Freezer” murdered a beat in his Month of Madness series and the chemistry these two developed on this, and another song, led the way to the collaborative album I mentioned earlier. I don’t know if this was made for Free, but it fits perfectly. Set the tone and let him go.

The Gift of Gab – “Rat Race”

• The Gift of Gab – Rat Race

To many people have never heard this song, or even the 2004 Gift of Gab album Fourth Dimensional Rocketships Going Up, for that matter. So have a listen.

Freeway & Brother Ali – “The Truth”

• Jake One – The Truth

Freeway and Ali over some rock-hard Jake One production!!! This song will still be as dope 30 years from now as it is right now as it’s being played. This is hip hop – simple, straight forward and infinitely better than anything you ever thought of doing. Off of the 2008 Jake One album White Van Music.

Prodigy – “Shed Thy Blood”

• Prodigy – Shed Thy Blood (w/ Un Pacino)

I’m a lyrics guy, but sometimes a beat completely makes up for lackluster rhyming. Case in point, this song from the 2008 album Product Of The 80′s. Seriously, turn this one up.

]]> http://jointcontrast.com/2009/07/the-jukebox-%e2%80%93-produced-by-jake-one/feed/ 1 http://jointcontrast.com/2009/07/till-the-casket-drops-malice-is-on-his-vlog/ http://jointcontrast.com/2009/07/till-the-casket-drops-malice-is-on-his-vlog/#comments Wed, 15 Jul 2009 10:54:35 +0000 J. Charles http://jointcontrast.com/?p=2332 By – Steve P.

Shortly after former Clipse manager, Anthony ”Geezy” Gonzalez, was charged with running a $10-million a year drug ring, one-half of “crack rap’s” dynamic duo started blessing us with the greatest video blogging (VLOG) series in the history of hip hop.

Malice, the often overlooked and completely underrated brother of the best duo in rap (yes, they’re the best until Andre 3000 is kidnapped by the Dungeon Family and forced to rap again; or Pimp C rises from the dead) began releasing these brilliant mini-movies that challenge every stereotype ever thrown at hardcore hip hop.

Intelligent and insightful, not to mention ridiculously entertaining and well-shot, these VLOG’s, as well as the Clipse music, are giving the hardcore heads cause to be proud of their genre as well as incentive to never have to listen to whiny, off-beat nerd rap again when searching for intellect in our entertainment.

If you don’t have time to watch them all, be sure to check out Episode 2, it’s insane. Also, be sure to check for Till the Casket Drops late this summer dropping on Columbia Records. Rick Rubin (co-chairman at Columbia) is rumored to have produced a few cuts for the album!

Malice Video Blog 1 from Malice of the Clipse on Vimeo.

Malice Video Blog 2 from Malice of the Clipse on Vimeo.

Malice Video Blog 3 from Malice of the Clipse on Vimeo.

Malice Video Blog 4 from Malice of the Clipse on Vimeo.

Malice Video Blog 5 from Malice of the Clipse on Vimeo.

= June 22, 2009

== Analog Giant ==

This blog contains President Barack Obama’s speech to the Muslim Nation in Cairo, Egypt, a post featuring a video of a jazz-and-funk jam performed by the Hypnotic Brass Esemble, and a link to download the brand new (and free) Sage Francis mixtape Sick of Wasting Time.

== Le Blog de Doruk Akan ==

Nobody’s perfect. But how the hell do you make a post about the movie Notorious and make mention to the first Notorious B.I.G. album as “Born To Die” and not “Ready To Die”? Other posts are made about soccer and what Egyptian parents name their kids.

== Mind Inversion ==

Taking cues from many of the hip-hop sites circling the Web, recent posts consist of the “Under Siege” video spoof by Oh No and Alchemist, an interview with Talib Kweli and Hi-Tek, and a look back at Common’s Like Water For Chocolate circa 2000.

== So Much Silence ==

Going strong since July 2005, recent posts on this site feature a live Bonnaroo performance by the Beastie Boys and Nas, a music video from Wale, and a look back at Bizarre Ride II the Pharcyde from 1992.

By – TimS

As the music business crumbles around the ancient ideals of rich white men, musicians are still creating. The music is still being heard. It’s still being performed. It’s still being passed along from friend to friend. So as the rich white men scramble to stay afloat in this digital age, the artists themselves continue to hustle. Flyers are posted physically and digitally. Music is given away for free to generate interest and to hopefully establish future loyalty amongst fans. But most importantly, the music is still being made.

A couple of those musicians are a New York City based hip-hop duo known collectively as 11:00A.M. They met at SUNY@Purchase, a liberal arts college 30 minutes north of hip-hop’s Mecca, and after establishing a friendship the two soon established a musical relationship as well. The dense sonic landscapes created by A.M. Breakups proved to be the perfect canvas for lyrically-driven Eleven to paint upon. Soon the two were linking up with fellow like-minded acts, performing shows and making a name for themselves within NYC’s progressive hip-hop scene. One of those links came by way of Uncommon Records, a label founded by former Def Jux engineer Nasa. I recently caught up with the two and grilled them with deep and profound questions. But instead, these are the ones we printed…

Pictured from left to right are DJ Dyllemma, Eleven, A.M. Breakups.

––– A couple years ago you guys almost won a digital album release with Def Jux via an MTVU contest. How did that experience play a part in linking you up with fellow artists (gain exposure, book shows) and are you happy it turned out the way it did?

Eleven – It’s crazy how that whole thing started. I remember sitting in class one day and I got this weird feeling that if I didn’t record something soon that I would be missing out on something big. And surprise, surprise. That next week this contest popped up on the web proving that I’m psychic and shit. So you know, I had to get in the booth that weekend and record those demo tracks so I could give it a shot.

The tracks weren’t even mixed down when we first uploaded them to the contest page. We were just trying to meet their deadlines. We actually re-uploaded them halfway through the contest because the mix was so bad. Getting all our friends to vote was madness since you could vote as many times as you wanted. Kind of defeats the purpose of voting, if you ask me. But we worked with who we knew and spread the word however we could. We didn’t even have an 11:00A.M. MySpace page when that started.

We ended up in the final deciding round of Top 5. There were a hundred-and-something acts in the contest. Didn’t win the gold. But I like to say we were the runners-up, though no offense to the other three acts. In the end it was great exposure, really. I remember Mod C was in Cali shortly after the contest and had a conversation with some random kids about hip hop and they asked him if he had ever heard of us, which was crazy cause we’ve never done a show in Cali.

A.M. Breakups – It definitely set a fire under our asses. We went from dorm room recording into a rigged microphone, on to decide that we needed to get up at our friends’ actual studio. And it sort of taught us a lesson in the value of Internet promotion. Those tracks were so exciting at the time (and they still are!) It’s always crazy to go to a place you’ve never been and find out you have fans there, too. I was up in Portland, Maine with Shortrock, Brzowski, and V8 and some girl walked past me and said “Oh my god! Are you A.M. Breakups??!” Shit is sort of strange.

As far as the contest, I’d already been working with Nasa at Uncommon, promoting a compilation he’d just released. I’m actually glad that it turned out the way that it did. From what I can tell, nothing ever really happened with the winner, whereas we refocused our energy on an Uncommon Release and in the process have met and worked with some of the artists that I’d held in the highest esteem prior to that. People I’ve been listening to for years!

––– Knowing the both of you a little from the short time we spent in school, I know you are both fans of as well as influenced by the roster of Def Jux. But speak a little on the fan/peer relationship you’ve developed with your Uncommon Records label mates.

Eleven – We feel right at home with Uncommon, a real hip-hop label started up by Nasa who had been in contact with Breakups before the whole online contest. The tracks we submitted ended up being the Free* EP . Uncommon has talented dudes like Nasa, Karniege, Masai Bey and Shortrock who are all slept on, unfortunately.

A.M. – When you enter a preexisting circle of artists, it’s always interesting being the new guy. I grew up in Utica, New York (and the surrounding farm country), so I always sort of invented my own culture and style of music. There really wasn’t ever an enthusiasm for this kind of stuff there, especially such avant-garde work. So I had to reach out on the Internet, and through magazines, to find music that really appealed to me. I feel like at first we felt some pressure to pay dues and whatnot, which I feel is a normal reaction. What it honestly comes down to though is that these guys are some of the most humble and real dudes around, and as long as we all bring our A-game and create with passion and a genuine purpose, the rest comes natural.

As for Jux, I’ve always had a place in my heart for that crew. They’ve put out a lot of records that changed the way rap music is perceived. Cannibal Ox’s LP is one of my favorite records. Never duplicated. Though I think it’s worth saying that there’s never been a specific allegiance to any one brand for me. If music is fresh, then I’m down to check it out. It can come down to a matter of what music is readily available or promoted in places one can find it. Networking, networking.

A lot of the Uncommon Records’ family has strong ties to Def Jux, going way back. For example, Masai Bey, along with Cage, was the original founder of the Weathermen posse. He, Arcsin, Nasa, and Karniege have all worked on releases with Def Jux at some point or another.

––– Describe to me how it felt when your debut EP went up for sale on iTunes.

Eleven – It felt strange. I had already been in the iTunes store on the b-side to Arcsin’s “Scarlet Fever” so my virginity was gone already. Hearing those tracks remastered by Nasa was really the mind-blowing moment for me. The irony of the album name is something else though. It’s gone from being the free online demo for the contest, which MTV wanted to use in commercials but couldn’t because they would have to pay for sample rights, to being the free CD that we would give to friends, the not-free EP that we would sell at shows, and finally to the iTunes store for $5.94 on Uncommon Records. And of course again for free if you can find it, like everything else, on the Web.

A.M. – Even going under the name 11:00A.M. can be sticky business (he says with a laugh.) Especially on flyers for shows! Having our music on digital retailers is really cool though. It’s good to know that some kid like I was, with a flavor for the more abstract side of things, can stumble upon it while digging through all this online debris.

––– What’s going on with new and upcoming releases by you and the rest of the Uncommon artists?

Eleven – There will be remixes to the Free* EP released soon. I just heard the “Troubleshooting” remix by Teddy Faley which rocks bottoms. Expect Shortrock and others. I’m dropping a mixtape on Uncommon titled M-Theory. The vast majority of the tracks will be me rapping over Breakup’s whole catalog of beats (old, new, unreleased) but also featuring some production from Nasa, Dyllemma, Asonic Garcia, and others. It’ll be a free download and it’ll showcase the variety of topics and styles I can flip when rapping. That’s all I can say about it right now.

A.M. – There’s talk of the next We Are label compilation and some other secret projects. Also, the new Presence record will hit this year. As for me, I’ve been working my ass off with results I’m really proud of. There are two of my remixes on the physical pressing of the Super Chron Flight Brothers Indonesia album. Also, my next solo LP The Cant Resurrection is finished, and it’s really a cool record with great guests. Working on a project with Teddy Faley, and further collaborations with Billy Woods and Eleven. I just curated and organized a free download compilation, called Ceteris Paribus, and it’s available on mine and any of the featured artists’ webpages. It’s exclusively beatmakers, and quite interesting one’s at that. The response on that has been startlingly large. It’s a trip. And a great little package all around. Go grab it!

––– Best album out right now?

Eleven – DOOM – Born Like This.

A.M. – Super Chron Flight Brothers – Indonesia. Can I say that even though I’m involved in it?

––– Best Porn star not named Sasha Grey?

Eleven – Cuppy the Vag.

A.M. – Anita Pearl? I’m not too up on that shit. But that woman is bangin’!

––– Best reason to live in NYC?

Eleven – Bagels/progressive hip-hop.

A.M. – If you do, you have the opportunity to run into Eleven and I. That’s pretty damn good.

––– Best word in the English language?

Eleven – Dunno.

A.M. – Egalitarian.

• The Delfonics – Ready Or Not Here I Come (Can’t Hide From Love)

Let’s assume everyone is familiar with the 1996 version made famous by the Fugees. The fact that Lauryn Hill, Wyclef Jean and Pras did it better on “Ready Or Not” doesn’t take away from the original 1969 version from this Philly-bred trio. Hell, The Delfonics have been getting jacked for quite awhile now. I’m sure it pays out nicely though.

THE ROOTS – “Streets Of Philly”

• The Roots – Streets Of Philly

How obvious a choice to blend a track from The Roots with Bruce Springsteen’s “Streets Of Philadelphia” (doesn’t The Boss look like Ben Affleck the morning after a bender?) Too bad we couldn’t get an official track with Black Thought flowing over this instrumental. Until that day, this J. Period version on Best Of The Roots from 2006 will have to do.

NAT KING COLE – “Day In – Day Out (Cut Chemist Mix)”

• Nat King Cole – Day In – Day Out (Cut Chemist Mix)

Released in March 2009, Carole Cole spearheaded her father’s tribute album Re:Generations with a focus on reintroducing Nat’s music to a much younger, hip-hop audience. And most of it is works surprisingly well. There’s Cee-Lo, The Roots, Just Blaze, Nas, and more, making contributions. Yet among those offerings, it’s up for debate how many tracks stand up to this one, or that of the legacy of Nat King Cole himself.

MOS DEF (w/ Slick Rick) – “Auditorium”

• Mos Def – Auditorium

Already receiving the highest of praise from critics and fans alike, the new album from Mos Def (The Ecstatic) features one particular song that’s bound to ware out the repeat button on your stereo. Mos and the legendary Slick Rick rock out over an addictive Madlib beat that’ll have heads noddin’ from hear to the Middle East.

ZION I (w/ Brother Ali) – “Caged Bird Part 1″

• Zion I – Caged Bird Part 1

Back in February, Zion I (made up of AmpLive and Zumbi) released The Take Over with this Brother Ali-assisted track included. And if not for Ali making this appearance, there would be very little worth holding onto from the album itself.

SHAPE OF BROAD MINDS – “Changes”

• Shape of Broad Minds – Changes

You’ve likely never before heard of this creative collective that goes by the name Shape Of Broad Minds. And you’ve probably never had the pleasure of seeing and staring at the album artwork of 2007′s Craft Of The Lost Art, or many of the other artsy covers pushed out periodically by the Lex label. The imagery matches the music.

Saturday’s Graffiti Bus Jam at Orlando Brewing wasn’t quite the rousing success it should have been – if judging merely by attendance figures. But it was a great time nonetheless for those of us that did make it out. Disappointing though that the local hip-hop community didn’t show up to take part in the festivities and show some hospitality to the out-of-town crew that rocked the mic for what, all eight of us, it seemed.

As expected, there were plenty of signature organic brews to choose from, and the artistry from six local graffiti artists who added some visual life to Orlando Brewing‘s 40-foot Big Red Bus. Unexpectedly, a few building jumpers came through to do their thing while Savannah, Georgia’s Dope Sandwich (and the Chief Rockaz BBoy crew) provided enough beats and rhymes to keep the true heads on tap for the duration.

Thankfully, some of our favorite artists are still creating music videos. And they’re doing so with a message attached more times than not. But even when merely having fun and experimenting with styles the music video at least brought a new perspective to the viewer. The cinematic quality of videos old and new should be celebrated for the masterpieces they are. And you best believe we’ll continue celebrating our favorites, from all genres, from here on out…

• The Roots – “In The Music / Here I Come / Don’t Feel Right” – You get a three-for-one with this music video from one of the great musical groups of our time. There are shadows creeping through the night, old buildings folding into new ones and a Black Thought hooked up to a lie detector test. – J.C.

• Public Enemy – “By The Time I Get To Arizona” – This group never had a problem touching on issues that most people steered clear of. This time around the Governor of Arizona is the target that Public Enemy is after. Check out the extended version of By The Time I Get To Arizona to learn more. – J.C.

• Xzibit – “What You See Is What You Get” – First off this song fucking bangs. Secondly, the one shot camera angle is straight Richard Linklater-style. – TimS

• The Pharcyde – “Passin Me By” – One of the most uniquely dope groups of all time delivers a uniquely dope video by a uniquely white guy. – TimS 

• Beastie Boys – “So Whatcha Want” – Come on man, I’m a small town, white boy hip-hop head. The Beastie’s are cooler than Eazy E’s balls in my book. – Dank Lucas

• Jay-Z – “99 Problems” – Rick Rubin ridin shotgun to Hov! The only thing this video left me wanting was more of this duo. – Dank Lucas

Let me recap an era for you real quick… We’re nearing the end of Master P and the run by No Limit as the most incredible hustlers and piss-poor rappers ever in hip hop, and now the Ruff Ryders are on top of the world off the strength of two DMX albums in one year. Canibus is, without a doubt, the most feared emcee on the planet. Big Pun’s first album has just dropped and the most anticipated album on every hip-hop head’s mind is Nas’ follow-up to It Was Written. Dr. Dre is on nobody‘s radar (The Firm, anyone?)

So I’m headed to my best friends house who I know is gonna put me up on game! I’m dying to hear this Punisher record he just bought, and I had just picked up both of the new albums from Redman and Method Man. I get there and there it is, this Eminem guy’s record. He’s going to set us all back another 10 years, so I think. Fuck it, spin it. Then it comes… “I’ll diss your magazine and still won’t get a weak review.” Okay, okay… “I’m tired of wearing the same damn Nike air hat.“ Me too, dogg… ”Hit the tree’s harder then Sonny Bono.” Hell naw, nice line… “You couldn’t sell two copies if you pressed a double album.” Well, fuck me sideways. This shit is dope! The rest is history.

So here we sit, a handful of days before the first Eminem album in four years and I just finished spinning the bootleg. I have to tell you, I didn’t stay a big fan of Eminem over the years. The Marshall Mathers album is probably a top-ten rap album of all time, but I haven’t been big on much since. Especially the post-50 Cent, thugged-out Em. I was content with him staying away. I was just learning to like his catalog again, especially the freestyles and guest appearances in between his first two records. Then the “3 A.M.” video drops and I’m like “okay, that shit is real slick.” The imagery took me back to his verse on the posthumous Biggie album Born Again, a sick-ass verse. Something real cinematic. Unfortunately that’s the high point of this album.

Now who knows how much of the real album I got here? I heard there were a couple Premo beats missing as well as a collabo with Jay-Z, but even if those rumors are true (and superb) they can’t help save it.

The subject matter is as repetitive throughout the album as its production. Nothing has changed in Marshall‘s world, or Dre’s for that matter. Early in the album we get “My Mom”, yet another jab at his mother. Why he wasted a beat this nice on another song about his mom is beyond me. And believe it or not, the nasty horns here are the high point of the production on the album. Maybe it’s just me, but I hate these repetitive-ass snare drum driven beats Em feels obligated to rap over. I know they made a lot of money with this formula in the past but its just that, the past. The rest of hip-hop has caught up with the sonic quality of Dr. Dre’s beats (or whoever’s doing their best impression of him.) Things get real horrible throughout the next few tracks, none of which I made it all the way through without hitting the skip button. “Insane” is a trash song that starts out about Em being molested by his stepdad, true? Not true? I don’t care either way. I can’t let that bang out my windows, dude. “Bagpipes from Baghdad” is a horribly irritating beat and I didn’t make it past the initial rambling about Mariah Carey before it got the same skip treatment. Seriously, you’re still on that shit about her?

Somewhere in the meat of the album we get a trio of what I’ll just call “rape rap.” “Same Song & Dance”, “Medicine Ball” and “Stay Wide Awake” are all just that, Em rapping about raping someone or some thing. All the word play in the world can’t make up for the retarded subject matter here. Now I’m no censorship douche, I can laugh about some sick shit, but there’s just no entertainment value in hearing his fantasies (again) of kidnapping and rape. You guessed it. Skip. Skip. Skip.

Next we have the songs you’ve heard already but don’t even know it yet. “Hello” is a lame version of “My name is” or “I’m Back”, take your pick. Then skip. ”We Made You” is another radio-darling Eminem song that will forever get play at white people’s wedding receptions. It’s also one that by now you should already be sick of. Skip. “Old Time’s Sake” featuring Dr.Dre on the mic and the boards just sounds old. Skip.

“Must Be The Ganja” and “Crack A Bottle” are both decent tracks with catchy hooks, if you’re not already tired of the latter. “Ganja” might be the only track with repeat value on the album, even it feels odd coming from someone who wrote this album supposedly sober for the first time in his career. Still, it sounds nice in the whip.

There is some lyrical treats at the end though. “Underground” is the nicest track on the album and the only remnant of the flow that made Em the most feared battle rapper hip-hop wax has ever met. On “Dejja vu” Em tells the story of his addictions and vices which ultimately led to his overdose and hospitilazation last year. Pretty dope lyrics here but if the beat is the final album version its straight garbage. And finally, on ”Beautiful” Em confirms he had the same doubts about his comeback as we did. A lot of diehard fans will call this song brilliant. It’s a good song, I have no problem with it, it’s just if I want emo-rap, Eminem is the last place I look.

Remember the South Park episode where Steven Spielberg and George Lucas were caught savaging Indiana Jones and a Storm Trooper? It’s hard not to envision the entire music industry lined down 8 Mile Road giving Marshall the same treatment when you hear this album. With the entire failing music industry on his shoulders with this release, maybe Em was trying to tell us something with all that “rape rap.” I always thought his monumental success held him back musically. I mean, how dope would it have been to hear Mr. Mather’s larger-than-life flow over some Madlib production? Some J-Zone? Or trading bars with Doom? Unfortunately we’re force-fed the same old song and dance.

Cali Bay Area emcee Paulie Rhyme has blessed stages all over the world. But before moving to The Bay he was a longtime staple of the underground Cleveland hip-hop scene as a solo act, as well as a front man for the eclectic Finless Brown outfit. A true road warrior, I have seen this guy do a show in Cincinnati, drive through the night to Cleveland to shoot a video the entire next day, only to tear down another stage in Cleveland that night on no sleep whatsoever. Armed with a dope stage presence, tireless work ethic and fan-friendly demeanor, Paulie sets out this weekend to once again conquer the road. I caught up with him before doing so to ask him a few questions…

– Where is Finless Brown?

“Finless Brown has run its course and we decided to let it go after this last member change in late 2007. I was really against it at first because we had always said that Finless Brown was bigger than the people in it, but more so a representation of the people who supported it. I think it just got to the point where carrying that torch for the members who were left was a bit much, especially when we had decided that we were going in different directions musically. So myself, Moto, and Dave (drummer) started a new band, Miles Outside, with a few cats (Bob and Justin) that we had played some shows with, and clicked with. Gordo (DJ) is still dejaying and getting more into production. Dan and Leo are pretty domestic right now and not doing too much in the music realm.”

– Tell us about your new mixtape and tour, and also what you think of the mixtape game as a whole.

“The new mixtape is called The Industrial Arts Mixtape and is a companion to the tour of the same name. The tour is our first of the year and is going to be used to promote the new Miles Outside record From the Outside In. I think its works well when you do something special for the tour, so this time I decided to get with a homie of mine in SF, DJ Scotty Doo, and put out my first artist-focused mixtape. As far as the mixtape game is concerned, as with the industry as a whole, it is hella saturated. You got a lot of folks who are putting out low-quality non-mixed CDs, slapping Lil Wayne’s face on the cover and shipping them out. The artistry of what a mixtape is has been lost to a vast majority of people who are calling themselves DJ’s. You do have a small portion of folks who are doing it on a high level and attempting to be artistic and creative, but you have to either be hip to them or sift through the sea of B.S.”

– What’s different about living in The Bay vs. your Ohio roots?

“The Bay is bigger population wise, which helps a lot in regards to putting in work and getting your message out to a lot of people. It’s also a travel spot, so you get a lot of people who come visit all year round from all over the world. You can rock a show and have 25 or 50 folks in the crowd not even from The Bay, then they take it back to their spots and it spreads that much more. There is also a definite independent spirit and support system out here. People definitely get down and support indie, from music to art to clothes, whatever. I think Ohio was critical in getting my work ethic down and working out the beginnings of my sound, but living in The Bay has definitely taken my career to a different level music-wise.”

– Tell us about the ODB tribute song and about working with Lord Jazz of Lords of the Underground

“I was and still am a big Wu-Tang head. At one point I had like 25 Wu-Tang CDs. So when I got the track from Besto, I was sitting on it for a minute. Then in between Finless Brown records I started to work on a solo EP and that was the first joint I recorded. I just wanted to pay homage to someone who was really influential in regards to taking chances with this music and not letting boundaries hold back his expression. It was like a way to just get loose on the project and let go in ODB fashion. Working with Jazz was like a dream come true. I was a big fan of his work and we just became real cool on one of his trips back to Cleveland from France. He gave us an opportunity to work with him on the first Finless LP, so that was pretty dope. And when I needed something for the PDA EP, it was a no brainer. Hopefully we will get to do something else in the future.”

– As an emcee who sharpened his skills touring with a live band, what do you think of The Roots on Jimmy Fallon so far?

“I think anytime you can get hip hop on the idiot box to the masses and expose people to something that they may not have been too familiar with, like The Roots, it’s all good. Fallon is a G for that. I hope it blows up and they stay on ’til I’m 80. The dope part about it is that Black Thought is still an integral part of it. I didn’t know if they were going to include him as much as they do, which is even doper. They killing it.”

– Tell us about the feeling in The Bay this new year after the Oscar Grant tragedy

“I was actually in Japan when it happened but I got the video sent to me. It was one of the scariest things I’ve have seen in awhile. I just felt like things had gotten completely out of control. So you can sit there or you can say something. People have really mobilized and protested and rallied against what happened to Oscar with BART and Police brutality in general. I think as artists, we can get the word out to our folks and support as much as we can. I think a lot of young people felt victimized through that incident and it lit a fire. As far as the way it is being handled, I don’t think that initially they knew how to handle it with all the pressure they received from the community. Hopefully the people who are investigating the incident will do the right thing and justice will be served. Four cops just got shot in Oakland a few weeks ago, so there is added tension now from a lot of different sides trying to figure out how to keep the community together.

– How was Japan?

“Japan was awesome. Rocking in front of people who don’t speak the language, or speak very little, and still connecting is a testament to the power of music. I got to rock for primarily Japanese crowds as well as primarily English crowds, which was interesting cause its like Australian, English, American, etc. So not quite a hip-hop crowd, but moreso people who go to the English spot versus the Japanese spot, which were like hip-hop spots. It was cool, people were cool, the food was great, got to see some different things and spread the music.”

– I say Pac > Rakim…you?

“Well I would say there would be no Pac without a Rakim. If you remember the theme from Juice that Pac starred in, that was a Rakim song. I think it really just depends on what we are talking about. In regards to catalog or current impact there is an argument for Pac. In regards to the whole picture of hip hop, I think it’s hard to argue the impact of Rakim. He, along with one or two others, changed the way people rhymed once he dropped with Eric B.”

– Booty or Breasts?

“Breasts no question. Gotta love’em!”

– Buds or Beers?

“I am definitely more of a drinker. I think it has a lot to do with going to school in rural Ohio. Kegs of Red Bull, Natti Ice, and Bud(weiser). Being in Cali though, the quality of greenery is on a whole other level.”

– Do the Cavs got what it takes this year?

“Lebron is on fire. The team is way tighter than when they went to the finals, so I am saying they could definitely win it all this year.”

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Check out the new Miles Outside release From the Outside In 

Paulie Rhyme is also on MySpace and his new mixtape can be obtained through email at finlessbrown@gmail.com or by dialing him up at 415-867-8932.