setting shit on fire like a cracked atom

Hard to Get

Dimethyltryptamine

both from this man,

Jay Electrolysis aka Jay Electronica

Phat Kat

interview originally published here

the Phat Kat logo and drawing of Phat Kat are courtesy of Ill Lord, the illest illustrator out.

For anyone that might not be too familiar with Phat Kat can you give us a brief introduction?

Phat Kat aka Ronnie Cash, Detroit native. One of the founders of Detroit Hip Hop, that’s who I am. Slum Village affiliate, 1st down.

Speaking of 1st down, what was it like back then?

I mean, it was a crazy time, you know. That was when Hip Hop was real competitive. We just felt like that was a great accomplishment at that time, to have something out on a label that was big in Hip Hop.

How did you actually meet Dilla? I know you guys go way back.

The whole Hip Hop scene was real small back then. We met up at this spot Maurice Malone had, this Chinese food spot called Stanleys.

Switching gears to the present, how would you describe the D sound?

I would describe the Detroit sound as like soulful, with a little techno feel and aggressive.

Do you think there’s any connection with the fact that Detroit is also the home of Motown?

Definetly, we like to chill in the Motown.

Going more towards you and your style personally, what were your influences?

As an MC? All the greats, from the Grandmaster Caz, the KRS-One’s, the Big Daddy Kane’s, all the greats. Ice Cube.

You’ve been through a lot, can you tell us about some of the things you’ve had to endure in the industry?

It’s been a real rocky road, but I wouldn’t change anything for nothing because it made me who I am today. I went from the label folding; to albums keep getting pushed back. A lot of setbacks, people passing away, you name it. There’s been a lot of shit, but it’s made me who I am today so I can’t say I would change things.

Speaking of label situations, what is it about LOOK records that made you want to give them a chance?

The cat over at LOOK, when he reached out to me and called me, the first conversation we had, I mean you can tell a lot about a person by the music thathey listen to. We just had so much in common as far as music and the views that we had on how Hip Hop is now, and we just wanted to be comfortable to put out a project to bring that raw essence that is not heard anymore in the game.

Now, I wanted to talk about the dedication to the suckers 12 inch. I’ve heard the story that you and Dilla knocked it out in one night?

Yeah we did that in a couple of hours.

That’s some crazy chemistry. How does that happen?

Well, it went from him making the beats to me dropping the songs.

Just like that, done and done?

That’s how me and Dilla always worked, we had a crazy chemistry. We would just sit there cracking jokes, you know, smoking, he got the headphones on. He’d come up with a beat in like 10 minutes, take the headphones off, the beat’s banging through the speakers. Load it up, make sure the mic’s on, show me where to press play, where to stop at, he’d press record and go upstairs, I’d lay the verse, he’d come back down like done and done. Load the next one up, he’d talk on the phone, I’d lay another song. That’s just how we worked. That’s the whole thing with creating songs, we always looked at it like you get the best quality off the first take that’s why every song…you can’t keep doing it over because you lose that feel.

I see

If you at home, getting a rhyme together and come to the studio, it should be like you speaking. You should already know the rhyme, you shouldn’t have to come in the studio with a notepad or what have you, you should already have the stuff in your head.

That’s how you like to work?

Exactly.

You got a new album, Carte Blanche, I heard the promo and the album is on point.

Thanks man, I appreciate that bro.

It seems like it’s all the D on your album, is Truth Hurts from Detroit?

Nah, she’s not. She’s the only person that’s not from Detroit on the album.

Was that a conscious decision?

Yeah. I mean a lot of people was expecting me to reach out, and by me being cool with a lot of cats that’s already big in the industry, they was expecting me to grab the big names but I didn’t want to do that I just wanted to really show the world what Detroit has to offer. Just to let people know that we got MC’s and producers is hotter than the people ya’ll are paying all these thousands of dollars for.

I’ve done interviews with other people, and gotten over and over that alot of the radio in the D doesn’t support artists in the D. Is that changing?

Nah it’s worse. Funny you should ask that because I just did an interview right before this, saying how radio is not supporting the Carte Blanche album because of the True Story Pt.2 with House Shoes, because of what we’re talking about.

What????

Yeah, but it’s gonna be like a black eye to them because it’s sad for the listeners. For the listeners of the city, they’re never gonna get to hear Phat Kat on the radio and I’m from Detroit. It’s sad that they won’t get to hear it.

Now you mention something in your album about the market being easier for you to crack overseas, what is it about overseas audience that makes music like yours more accepted?

Well, the game is not really corrupted yet over there. It’s still about the music, it’s always about he music over there. They don’t care about how big your chain is, or how much ice you got on or how big your crew is, it’s always been about the music at the end of the day. That’s what they appreciate over there and that’s how we’ve been able to go over there and survive and eat.

Speaking of overseas, I was just covering a show in Oslo that House Shoes, Illa Jay, Aloe and Exile did and Illa Jay spilled the beans on the 2nd down thing.

Oh yeah

I’m real curious about that because that sounds big.

Yeah man, we just decided where we left off. This the new phase, me and Dilla were 1st down, now me and Illa Jay are 2nd down.

What‘s the future looking like for you?

The purpose for this album is, I just wanna bring some balance back to the music industry, because right now it’s wack. Nobody really has a choice to listen, everyone’s walking around brainwashed, just to let some people hearing some real Hip Hop again, still being made.

Your top 5 Dilla beats?

Note: the transcribed version of the interview doesn’t do justice to how long it took Phat Kat to make up his mind about his top 5 Dilla beats. Forreal.

Wow, my top 5? Okay, the Jungle Love joint off the Shining. Wow, this is hard…ok. The Jungle Love , that’s one of them. Cold Steel has to be on there, Don’t Nobody Care About Us,

That’s three.

Wow…and the De La joint off The Grind Date, the put all things aside.

The Verbal Clap joint?

Exactly! * hums the bassline *

That one is hard, that one is hard!

I was on tour with De La in Europe man, and that’s how they come onstage. I’m in the dressing room and when I heard that I almost fucking lost it. Oh my goodness, that beat right there, wow…

I remember buying The Grind Date when it came out and hearing that, I think it was track four or something and being blown away like, yo what is this? And then turning to the credits and being like, of course.

Man, when he played that for me I was just like, you can’t be serious. Wow, that’s four right?

Yeah, one more.

Okay, and the last one, I would have to say…damn this is hard, the joint …aah, I can’t even say that. The let’s do it, the joint off Common’s Like Water For Chocolate.

You mean Dooinit?

Exactly!

Oh yeah, the one where he slowed down the Rick James sample

Exactly man!

When I heard the story about Dilla doing that beat blindfolded in that beat battle with ?uestlove, man I lost it.

Yeah man, those five right there.

Was there ever anytime when you heard a Dilla beat and were like, damn, I wish I would’ve gotten on that?

HELL YEAH. Me and Guilty just had a conversation about that, we always talk about that. There’s a couple of beats that I hear and I’m like, damn!

Do you have any plans to tour coming up?

Actually I’m doing the Carte Blanche tour starting next week on the 11th. I’ll be out from the 11th till June 2nd. From the east coast to the west coast, starting on the west coast, then we’re working our way back east.

You got Slum Village and Illa Jay on that tour with you right?

Exactly, we’re gonna have fun on that tour.

I also wanted to ask you about the unity in Detroit, because from the outside looking in it seems like a big family.

Yeah man, it’s like a big family. Whenever someone’s working on a project, we try to make sure we include everybody.

Is there anything else you want to say before we wrap this interview up?

I want everybody to just listen to the album, if you don’t like it, if you see me, I’ll give you your money back.

I don’t think that would happen too much.

I think artists should start putting money back guarantee’s on their albums.

Keep all the wack shit out?

Exactly.

Once again, Phat Kat. Thanks a lot for doing this and I wish you all the success you deserve with this new album. Thanks a lot.

I appreciate the love forreal. Peace

CARTE BLANCHE AVAILABLE NOW ON LOOK RECORDS. support GOOD shit.

Phat Kat – Dedication to the Suckers 2004

Jay Dee – Featuring Phat Kat

Phat Kat – Don’t Nobody Care About Us

GFK intermission

“left the building all scarred up heavy, niggas couldn’t take the chain,it’s too heavy, word to mother
i was swinging that silent style machete, now when i come through, is when im ghost, my foes throwin confetti
my gear is a world premiere, fox leather ox yeah, now im dicking down Heather Locklear, rubber glock in the glove box
Benz drop yeah, hit the mall in Long Island they got hens out there, i’m not a sex symbol, gangsta or activist,
i just bubble like acid in a glass of Cris, my pens is illmatic, plush robes drag across the floor, gun hand is sore from choppin the raw,
and when the jet land, smoked out, just look right under ya, the aircraft carry bag half of Colombia, yeah, seperate the rubble,
stay beating niggas brains out with the Garth Brook belt buckle, jewels pay respect to my larynx, my bird blew niggas away like a clarinet, my hoes, they so happy i aint married yet, and i still walk down the aisle with a plastic tech
“

- Ghostface Killah

i probably fucked up a little, but not much.

these wack niggas don’t concern me, bring out the gurneys

and summon my attorneys

DJ House Shoes – Get Up! ft. Guilty Simpson & Lodown

the track with the now-infamous line, “if she’s sleepin with her mouth open, rape that throat, most bitches can’t take that joke,” courtesy of the D’s Guilty Simpson. Check Stones Throw’s event calendar to see when and where Guilty and co. are going to be on tour.

Murs – Varsity Blues

Murs, or Making Underground Raw Shit, has been holding down LA’s underground, with some pretty damn good company, for a minute now, and since he’s about to make his major label debut on Warner Bros, he should be seeing a well-deserved rise in popularity. I mean, that’s if you mofos don’t sleep.

Erykah Bady & Madlib – Real Thing (Music is Everything)

this track leaked a minute ago, and to my surprise has been treated as whatever. I think it’s flames. the beat is flames, E. Badu is always on point.

Jay Electronica – Victory is in My Clutches

this guy and Lil Wayne are on opposite sides of my ‘MC’s MC’ spectrum right now.

Lil Wayne – Upgrade U freestyle

“and me? I’m still spittin like a retard,
and these niggas soft, they should rappin in leotards,
nigga we in charge, baby put me in charge,
i’m just mudering niggas, free of charge,
ya dig? just holla back ‘i see ya sarge’
i’m so muthafuckin high i could eat a star“

every line of every verse of every song is a quotable

catch me in Mexico meditating with quetzalcoatl

Blu & DJ Exile – No Greater Love

Blu’s album, Below The Heavens, is out June 26th, and even though I hook it up with music on here, I highly suggest people actually purchase this album. Blu’s straight from LA and he has a flow that’s reminiscent of Common and the album has the same feel as Resurrection. Exile never dissapoints beatwise either.

Jay Electronica – So What You Sayin’ (prod. Jay Dilla)

“my microphone is 7926 miles in diameter”

anyone who has THAT line in their rhyme is either ridiculously dope or corny, and this guy isn’t corny.

Jill Scott – Long Walk (Madlib remix) & Bilal – Soul Sista (Madlib remix)

Madlib makes beats.

Ahmad – Back In The Day

backinthedayswhenIwasyoungI’mnotakidanymorebutsomedaysIsitandwishIwasakidagain…

Guilty Simpson

interview originally published here

What up Guilty?

Guilty Simpson: hello?

Can you hear me?

Guilty Simpson: Yeah

What are you up to?

Guilty Simpson: Stayin’ busy, just in the lab you know, trying to stay out of trouble. Staying focused with this record coming out in August

For those not familiar with Guilty Simpson, can you give us an introduction?

Guilty Simpson: Guilty Simpson, I’m from Detroit, Michigan, from rap crew called the Almighty Dreadnaughtz. I’ve worked with J Dilla, Kon Artst from D12, who’s Mr. Porter on the production tip, Madlib. I just represent Detroit Hip Hop.

Can you explain how your come up came about. When did you start taking rapping seriously?

Guilty Simpson: I probably started rhyming seriously like 94, at first just freestylin’ with my friends but I didn’t really take it seriously, and they were more into it real heavy, id even say probably the first 8 or 9 years I was just doing stuff in Detroit on the underground level, just generating that buzz and learning the craft. I was able to connect with Dilla and Mr. Porter and get these outlets outside of the city. I wasn’t really focusing on it an industry level at first; I was just more trying to stay off these streets.

You’ve been deep in D hip hop for a minute, and D has been getting a
lot of exposure lately, how would you describe the Detroit sound?

Guilty Simpson: I consider it like gumbo

OK

Guilty Simpson: it’s a soulful kind of sound, really coming from Detroit and soaking up everything there is to offer and all the other influences, I really think it’s a gumbo. Soulful beats, that’s the main way I could really sum it up. It’s real creative, and heavy drums where you could really feel it.

To flip it a little bit, I did an interview with Shoes, he told me there was an issue with the D supporting it’s own artists. What do you make of the community support in the D?

Guilty Simpson: I think it goes back to gumbo, when you go to different parts of the city’s are different. In certain circles it might take some time for people to get into a Guilty Simpson CD, or Black Milk or Slum Village. But then you go to New York and you kind of know what that sound is or you go to California you know what that sound is, but when you’re in a city that’s kinda split and divided in alotta of ways its harder for people to get behind one song with so much variety. I feel like dtroit as a whole is separated so much by what we call Detroit sound its harder for everybody to agree on one accord what that sounds is.

Personalizing it a bit, what is the Guilty Simpson sound?

Guilty Simpson: I would say it’s definitely music for the inner-city, I’m not excluding those that aren’t, but the basis and foundation is coming from there, because I grew up in the inner-city and it’s coming form me. I still care
about the artistic form of the music and the creative element, I don’t really deal with the standard rhyme patterns and rhyme schemes that everybody else is using. You could still say my music is hood, but at the same time you could say its definitely hip hop cuz its lyrics drive, I think im actually able to balance the fine line between Hip Hop and backpacker rap and hood stuff, I was brought up around everything. I had friends that rapped and didn’t care about the streets and friends that were in the streets and didn’t care about rap. By me being connected to both, I think it made me real well rounded, I think that’s the best way to speak about my record, its gonna be real well rounded.

Is it ever hard to balance those two things in your music?

Guilty Simpson: Nah, I think it becomes an issue when you think about it too much. I think the element I bring on my record is true to me, so I don’t really think it’s a far reach for me to do either or. I wanna be able to get on a track with, you know, someone that has some get money music, I wanna be able to get on someone whose on that topic and at the same time be able to get with someone who’s not stressing any of those things, I wanna be able to do all of it. I don’t think it’s a problem for me, because I know what its like to be in these streets struggling and what its like to struggle for this music.

Like you told us earlier, you’ve been doing this for a minute, how long has the lp been in the works?

Guilty Simpson: Well my stones throw release that just recently came up probably towards the end of last year, but at the same time I was working with Dilla before he passed of course and I was working with Mr. Porter with my crew, the Almighty Dreadnaughtz, so I was more or less focusing on my crew and getting to the level where we felt we could compete with groups in the industry. I was also working on my solo stuff, and the opportunity presented itself for my solo stuff before my group stuff. So I’ve just recently started focusing on my thing. So what you’re gonna hear on my record, some of those Dilla joints on my record were done in like ’04, and those are probably like the oldest joints that are gonna be on the record.

Is the title still gonna be Beast?

Guilty Simpson: laughs aw man, I dunno why I’ve even been putting that out there. I think the main thing is that once everybody gets everything they need and I complete everything, get everything mixed and things of that nature. I haven’t really focusing on the title right now, I’m trying to get these strong songs on here. The Beast was tentative, The Verdict was tentative, I got a couple of other things I might throw out there. I might just title it Guilty Simpson, knowhaimsayin.

Talking a little about your style, who would you say has had a strong influence that inspired you, like not necessarily who was the best at the time, but who made you just be like ‘Damn!’

Guilty Simpson: well I was really influenced strongly by Kool G Rap, and Scarface, Big Daddy Kane. I love Special Ed, Pete Rock & C.L. Smooth, Boot Camp Click. It was a lot of people, because at that time there was so much quality music coming out that almost everything coming out I would like because there was so much variety in the game at that time. I like a little bit of everything, but Kool G Rap and Scarface, those two dudes right there are at the top of my list. I think that will basically sum up my style in general, not saying I’m taking from those two dudes. I can appreciate East coast Hip Hop and southern Hip Hop all together, and that falls back to Detroit being a gumbo, but as far as lyricists, Kool G Rap is my top guy.

That’s a good choice, I wasn’t expecting that, but that’s a really good choice.

Guilty Simpson: G Rap’s been the nastiest dude ever, to me, forever.

He still has it too.

Guilty Simpson: oh yeah, and if you really pay attention to the game there’s a lot of people that have borrowed from him and become more successful with his style than him, but Kool G Rap can kinda be like your favorite rapper’s favorite rapper so to speak. Anybody that’s really into Hip Hop can acknowledge him as a phenomenal lyricist.

I have to agree with you 100% on that, like I can listen to a G Rap song and catch something—matter of fact, the other day I was listening to Blowin’ Up In The World and was catching shit that I had never heard before, and I was like ‘man, this dude is crazy!’

Guilty Simpson: yeah man, when I get my weight up I’mma reach out to him, that’s my dream joint right there.

Guilty and Kool G Rap, that would be TIGHT.

Guilty Simpson: you’re gonna have to surgically remove the smile off my face.

Did the Stones Throw deal just come by Dilla introducing you to that circle?

Guilty Simpson: well he was over there doing work with im, and he would call me from time to time while he was in la. He would tell me that he really thought stonest throw would be a good home for me and I kept int in iconsideration, and when the time came for me to step out and do my solo stuff I had a couple of offers and options that I coudla did, but I like the way stonesthrow does things and the unique way they promote and everything in genral. I jffelt it was a perfect fit, and by dilla really trusting those guys it felt really family oriented and I like that better than the standard record deal.

That was my next question actually, ST seems like a family oriented label, is it like that when you’re on the inside of it?

Guilty Simpson: yeah man, basically all around the board, stones throw is just a real label to me, the people are real easy to talk to, they’re able to give me the freedom to do what I feel I need to do for my record. One thing I can say, if that’s the vibe you get on the outside looking in, it’s just like that on the inside. We were on tour and they would get demos and they would literally sit on the tour bus and listen to everything. You wouldn’t get that from probably 80% of the labels out here, from the indie to the majors. I just feel like they really care about he music and care about finding the next thing and really trying to elevate the label making good music rather than just elevate the label financially by making clone music.

Now that you are deeper in the game, what are the highs and low’s of Hip Hop as you get deeper in the business?

The low’s are that you’re really able to understand, especially in the game, not directed to Stones Throw, but just in the game, how unimportant talent really is on this level. Once you really get into the business their so many things that come into play besides the quality of your music that can dictate if you get a deal. On the outside looking in you’d basically look at it in black and white, ‘if I’m a good rapper, people will come and sign me because I’m talented.’ When you get in the game and you realize its not about your talent but about your drive and hustle, that changes an MC’s mind from just being an MC to kind of being a businessman; you gotta think on that level and think about what’s gonna separate you and elevate you from the next artist, because it’s not even really about talent, it’s about being in the right situation at the right time, know the right people. Alot of the time that can be more important than actually what you’re doing when the beat comes on.

I know, just from me and my friends hanging out, that people have a certain, maybe naïve notion of what it takes to be a rapper. For those that don’t know or for those that are trying to come up, can you explain how important self-motivation and work is to an independent rapper.

Guilty Simpson: it’s critical. Especially on the indie level, you have to work twice as hard. Sometimes you gotta do things you might feel aren’t worth your time just to be out there and have people see you. You really have to get out there and work the record, get in peoples faces and communicate with people, I feel like those things are real, real important. Sometimes hwen a guy feels hes at a certain level of dopeness, wether signed or not, he’ll bottle up and get so self-consumed that he forget about the little things,which is networking and being an approachable person, just doing those extra things to get you ahead cuz we don’t have those huge budgets to lace someones palm and make those moves, lotta times its solely based on relationships.

Does the business side of Hip Hop ever frustrate you?

Guilty Simpson: most definitely, I’m human, I get frustrated. Actually, I might get frustrated more than the average person, but when I do get frustrated I’m able to look at the bigger picture and realize what it’s for. I think about Dilla, I think about Big Proof. I think about the sacrifices they made, like I feel Dilla made sacrifices just to work with me, not saying that I wasn’t talented. But im well aware he could have been in the industry getting easy checks instead of putting faith in someone he felt had a shot to really do something. I’m definitely aware you have to make those sacrifices and I’m willing to do them but I would be lying if I were to sit here and say that I don’t get frustrated, or I don’t get tired, or I might not want to do this in-store or I might not want to do that. It’s been a year and Dilla’s passing is still fresh; Proof’s one year anniversary of him getting killed is still fresh. At the same time I’m trying to shake the dark clouds that are above my head, cuz I’m going through things, but at the same time I look at the things they did and sacrifices they made for the city and I just get up and do that in-store and do that show. I do the things necessary to get ahead, cuz coming up in Detroit you realize that failure is definitely a possibility I don’t care what you do, that’s something I can see everyday in my rearview mirror. I look in my rearview everyday day realize that if I don’t get up and work, they might not be talking about me this time next year.

Very well said. Now you mentioned Dilla, and I definitely want to have some words about him. All the recent media attention aside, what do you think of when you think of Dilla’s music?

Guilty Simpson: well, if I had to sum his whole career as an underdog. People in the industry weren’t able to acknowledge what he brought to the game an how he changed the sound of hip hop in my opinion, and the contribution he did ot neo soul you could argue that he changed the sound of music period. When I look at him I look at him as an underappreciated genius but that’s okay because the people that need to know, the people that have that genuine love for music, if they don’t know who Dilla is they’re on a path to finding out because there’s no way you could get into good music and not acknowledge what this man has done. That’s the vibe I get from it, I think that’s the whole attitude of the city; the underdog. I’m not sayin’ that people are against us, but we are well aware that whatever success can be taken away at any given moment. So, you appreciate it and a lot of times people might not look at us as the frontrunners or favorites to win, but through hard work even the people that dislike you will have to give it up, that’s the main thing about Dilla, I could say he was talented but definitely underappreciated, and as long as my music lives any chance I get I turn people onto Dilla. Trust me, I got quite a few friends that are just now getting up on their Dilla game because the music was just that powerful.

Do you ever feel a ways about it though? Like for me, I know I get annoyed when I see people treating the man and his music as a trend, without really understanding his music, and not even to say I’m one to say anything about him, I never met him or anything, but does it ever bother you?

Guilty Simpson: I feel like that man, it frustrated me for a while. But everybody’s legacy is different, sometimes you don’t know what you have till it’s gone. I’m just thankful that people are getting up on his music, rather than getting mad that it took them so long to do it. I can’t really blame ignorance.

That’s true.

Guilty Simpson: I can’t hold people at fault for that. It’s just different situations Dilla was in. Dilla was comfortable with that he was never the bitter producer or the bitter artist, feeling people never appreciated his music. He was just so happy to do it. Just me reflecting on he was as a person makes it easier for me to accept how things went. I’m definitely thankful people are supporting now; he definitely deserves your ear. I’ve dealt with numerous people that have come to me and said ‘hey, I acknowledge now that Dilla was ridiculous, and I’m not even gonna lie to you, my friend turned me onto him after he passed.’ They were able to see how, the people that did love him, how it affected him after he passed. So it makes people think like, ‘damn, if that affected you like that that this guy died, and you didn’t even know him, maybe he does have something to say, let me listen to it with a totally unbiased opinion and a genuine ear let me hear what he has to say’ It’s been amazing how he’s affected people who have let their guard down. I don’t hold it against him, I’m just glad they’re listening.

Can you talk a little bit about your other projects coming out?

Guilty Simpson: I have something coming out with Sean Price, I got the almighty Dreadnaughtz project, I got a project with my man Trick Trick from the goon squad. That’s not easy listening, that’s a whole nother side of Guilty, extremely savage music but that’s my man. It’s like a meeting of minds; it’s called goon squad. A lot of different MC’s from the city that have their own crews, like a group of bosses, I don’t want to say bosses, but a group of leaders that’s bringing a lot of crews together to make an album. I got a couple of more things with mr. porter, I got a stones throw release that’s gonna come out, probably top of the year. The Sean Price thing gonna come after my record. I got a couple of other things in the works, I’ve been getting a couple of beats from a producer, I’ll keep it nameless, but I’ve been getting a lot of beats and I’ve been feeling them, I don’t know what’s gonna come of that. I’ll speak on that when I at least get one song, but it’s definitely a legendary producer. I’m just trying to stay busy and stay humble, keep grinding.

I remember reading somewhere that you said rap saved your life, how did it save your life? Is that just like a matter of fact or is it more of a metaphor?

Guilty Simpson: I’m convinced it’s fact. As I look back on my life, and I’m not gonna go on this interview and say I’m the hardest, toughest guy on this planet, but I’ve made questionable choices that could have turned out to be fatal. I was basically just a knucklehead man, like my mother really did do everything she could to keep me on the right path and such, but when you get to a certain age you really do make your own decisions about what you do with your life. Music gave me that chance, like I remember how I was before music had that affect on me, you know, I was just basically in the streets, just living for the moment. Music gave me a sense of belonging, it made me feel like that was my calling, like something I was supposed to do. So, it took a lot of idle time out of my hands, and I’m convinced that it saved me. I actually didn’t even voluntarily go into rap, I had my friends coaching me and telling me they thought I could do it so they had the faith in me before I did. I’m just well aware that theirs different things ive been through, I could have easily been in a worst situation. As long as I’m into it I’m gonna give it a hundred.

Any plan to tour?

Guilty Simpson: yeah, I might be going to Germany with Stones Throw in August or something, don’t put that in stone yet. I’m gonna be doing a couple of spot dates with Ronnie Cash…

Phat Kat! Oh shit!

Guilty Simpson: Yeah, make sure you check his album out; I’m on that joint. We got a joint called ‘Major Label Nightmares’. I’m supposed to be doing something with Stones Throw. If anyone is trying to holler at me, possibly book a show they can reach me at http://www.myspace.com/guiltysimpson, I’m just ready to work. I got my passport game tight too; I even fly across the water to do some shows.

Anything else you want to say before we head out?

Guilty Simpson: I just want to say, not to play any race card, I want people to be well aware that with the Don Imus situation it’s a war on Hip Hop and the powers –that-be are really trying to shut it down. So the people that do support it, we just really need to stick together. Black, white, any color, Hip Hop was the one form of music that brought all races together, people should remember that. People that aren’t involved in Hip Hop shouldn’t be the bar to judge our music. They don’t even understand our music or our culture, so their opinion should fall on deaf ears. Keep the art form going, support it, go out and buy these artist’s music, don’t just burn it. If you burn it, burn it and listen to it and if you like it go buy it. Keep Hip Hop going cuz their trying to shut it down.

Well once again, thanks a lot for doing this, for taking the time out.

Guilty Simpson: Thank you for having me, I appreciate it fam, no problem.

Guilty Simpson!

As Serious As Your Life Is (remix) ft. J Dilla & Guilty Simpson – Four Tet

Money Motivated Moments – Guilty Simpson

Strapped ft. Guilty Simpson – Jaylib

For The D – Guilty Simpson

Dia de las Madres

Today (technically yesterday) May 10th is Mother’s Day in Mexico. Since I was born there, have a substancial part of my family there and basically regard the place as a foundation for my customs and beliefs, that’s when I celebrate Mother’s Day.

originally I made this for my own Mom, who normally has a general distaste for most of the music I like, but I guess you guys can have it too:

Dia de las Madres.

tracklist:
1. High and Dry – Bilal
2. MILF – Bilal & 88 Keys
3. Severa – Aloe Blacc
4. Open Your Eyes – Bobby Caldwell
5. I Used to Love H.E.R. – Common
6. The Waiting Room – Emanon
7. So Far So Good – Common
8. Stop This Train – John Mayer
9. Minha Galera – Manu Chao
10. Rico Suave Bossa Nova – Jay Dee/Jay Dilla
11. Think Twice – Jay Dee/Jay Dilla
12. Theme for Eternal Sunshine of the Spotless Mind – Jon Brion
13. Batida – Kev Brown
14. Geto Heaven pt. II – Common ft. D’angelo
15. Bailar – Aloe Blacc
16. It Don’t Have to Change – John Legend
17. Amor Eterno – Vicente Fernandez

back to the D for the next one.

if she’s sleeping with her mouth open, rape that throat

most bitches can’t take that joke.

pic courtesy of this dude.

Guilty Simpson is a monster, and currently the best rapper in the world (c) House Shoes. Definetly keep an eye on this dude, as his debut on Stones Throw is set to drop later this year, along with various other collaborations.

J Dilla feat. Guilty Simpson & MED – Jungle Love

Jay Electronica feat. Guilty Simpson & Mr. Porter – Get ‘em

Guilty Simpson – Clap Ya Hands

from the latest hiatus…

almost back, sorry for the delay. in the next days, more music, more commentary. in the next weeks, more interviews, more music, more commentary, and videos.

trust, shit will be hot, the focus for a minute is going to be, mainly, the most underrated city in Hip Hop.

Detroit.