How did your project Beats From The '90s come about?
One day I was actually looking for The Artifacts remix to “It's Gettin Hot” and I was going through a few DATs that I had found. I found “Gettin' Hot” and right before that, I heard four or five of the beats on Beats from the '90s. I was like, 'Wow, this is some memorable moments here.' This was '94, '95, and '96. Some of that stuff I recorded at Marley's place and some of the stuff I recorded in my crib. I know rappers weren't going to buy it and I knew that I couldn't load up any of the tracks anyway. It is what it is. I wish I had the beats to load them up again, but those beats are gone!
Some of that stuff is actually funky. Some of that stuff made me pull out my MP and actually figured out what I was doing. That's what it was. I wanted to make a Portishead record and I remember I had a drumbeat that they had used on my MP and that made me also go into a lot of my stuff from the '90s. I have a lot, man. It's sickening. I have plenty of stuff. I just had to find the right situation to get it out there.
Why did you choose to release this instrumental album now?
I think right now, honestly, I have so many breaks right now. I can repeat that. I have so many breaks that cats did not use that I could care less about what happens to these beats. I'll put out a few more volumes of that. Everybody that puts out stuff from the '90s, they already put it out. I have stuff that never came out. When I was working with Marley, I had so much different stuff. I had to make tracks for years. They piled up. I would make 10 beats in a week and maybe two or one would get picked in a day. They would pile up. We were recording on tapes and once I did a beat, we put it on DAT because we didn't know what they wanted.
A lot of producers like Pete Rock, Extra P, RZA, Primo, I was in competition with all those guys and trying to keep it up to par with the beats because I didn't want to be one of them. I wanted to be all of them. I was making beat, after beat; after beat. I have Nike shoeboxes full of discs. I got numerous Reebok boxes full of discs. I'm not going to load those beats up at all, but the ones that had arranging and mixing on the DATS, I'll put those out. A lot of the beats on the project, I was working on with Lords of the Underground; and they didn't get accepted. I have beats from Tragedy that didn't get accepted as well as Da Youngstaz. There was a lot of stuff that I did and I think people need to hear it, to know that there was a lot of solid music in the '90s. And a reason a lot of people appreciate the '90s so much, was that there was a certain way of doing things with the sound; but the sound didn't sound great. The creativity was at one of its highest levels but the sound levels was at one of the lowest in terms of sound clarity.
You mentioned how you wanted to be all of the producers, not one of them. The beats you put on Beats from the '90s show a lot of diversity in your style.
Pete Rock was the nastiest, nastiest, nastiest cat. And that right there went to Pete Rock and CL Smooth and then when he dropped his shit, “For Pete's Sake” was so crazy. The bass was filtered and the sample was there and I had heard that jazz record at my boy's house. Pete killed it! Once I heard his album, I said, “Cool. I got an idea now. I gotta use my S-1000 for my filtering.” Once I figured out I had to do that, DJ Premier came on the scene with “Take It Personal”. I was like, 'Damn, he used Stezo's drums and this is a different sound.' I didn't know how he did that. The chopping element was more precise now. Then you had Q-Tip and Extra P who would come with the craziest ill loops with a crazy drum beat over it. Once I did what other guys were doing, it was a nightmare. There were other producers out there in the '90s that I liked. There was Primo, Extra P, 45 King, Marley…
All their elements made me what I wanted to be. I wanted to be better than all of that. I wanted to take all of those elements that I learned musically, theoretically and technically and apply it to my skills. It was crazy. When I did “Ain't No Crime”, it had a sample in there from the '60s but you'll notice how it was pitched differently and it's going fast at the same time. I heard that idea from a record that A Tribe Called Quest, did. They tuned something weird and it was still going fast. There were certain elements there. There were certain elements that I wanted to use. By the time I got with Marley and I came up with “Funky Child” and all that, I had all the elements. I knew I could filter a sample and mix a sample up in a different way that I didn't have a vision for initially.
On Beats from the '90s, some of it is chopped up stuff and some of it is filtered. We didn't have a lot of sampling polices. We had a lot going on with mad samples. My machine, my MP, didn't have a lot of time to hold samples so everything had to be fast and I had to do extra chops. I think everybody's element is what I took, too form who I was going to be. And I just stuck to it in those years. Any record that came out, I paid attention to the aura. Like Pete Rock came out with “The World Is Yours” and I came out with “How Nice I Am”. It was two melodic piano samples. I heard his piano sample and it was so melodic. I was like, 'That's so hot! That's so hot!' And “Take It Personal” made me make “Funky Child”. I couldn't explain it, man. “Who Shot Ya” made me make “Real Live Shit”. I don't know. Dre's 2001, I think it was one of the songs, “The Watcher”, that I made Jayo Felony's “Trued Up” record. That's the theory behind it as far as all of the stuff that I was doing in the '90s. I was inspired by a lot of different producers.
When I interviewed EPMD, they said they have to be much more careful with sampling and they can't layer multiple samples on top of each other like they did back in the day because of sample clearance issues. Are you more careful with what you sample today?
That killed it a lot. Yeah. It was funny because “Funky Child” had eight samples in it. Everybody loved those records by me and they were classic records, but at the end of the day, I didn't eat off of that. All of the publishers got a piece of the pie. The publishers get to eat. The producers do all of the work as far as editing and rearranging and totally revamping another person's song and they want to take all the publishing. That won't happen again. Those were the good old days. We could sample anything. That was easy to do. I don't know. It got crazy, man. I try to find rare records now.
Are you focusing on playing more instruments as opposed to sampling records today?
Oh, it's terrible right now (in terms of sampling). It's so terrible. I'm like, 'Look, right now, I gotta get with an attorney because I want to know who passed a law that says if someone makes a record with a sample, you can't use that.' I got a record from 1973 on Mainstream and they got, like, no lie, like, about 25 different records from other people's records in this one song. It doesn't say they gave publishing to anyone else. That's nowhere on the record, anywhere at all. That wasn't going on back then. Who passed the law? It's stupid. Right now, me personally, I'm on some other shit now. I'm always constantly looking for rare breaks and I'm looking for stuff that I can play over. You can get instruments online with sound modules and you can do it over. I'm not just trying to do something over. I have to listen to every instrument in the track, and see what elements I like and what parts of it can make me thrive from it and make the beat funky. Other than that, it's not happening.
Sometimes I sample stuff and they tell me I have to play it over and I get to where the playing over it is wack to me. It's so crazy because everybody wants $100 grand, $50 grand, 50% of the publishing and 100% of the copyright. Yo, man, it's killing us. It's killing us on that end. It's forcing us to be original and to be creative but the thing that made us creative, which is sampling, isn't there anymore. And everyone's running out to get a keyboard and they're thinking they're making some hot, hit record and I don't know, man. That ain't how this was. Today's music, I don't know. Like, you can't change the music. We grew up a certain way listening to hip-hop and the music today is trying to change it.
Who passed a law where the game has to be changed when the new cats never came in and solidified it and held it down for what it was supposed to be? I'm not saying that everybody is doing it wrong, but at the end of the day, sampling is a part of hip-hop and as long as they can capitalize off of it, they'll rock with you. But they're like, 'If we can't take everything, you can't have it.' It's really sad, man, because a lot of people make some crazy, ingenious stuff and it can't come out. Some of the samples you just have to play over. It takes time, and there are a lot of sacrifices. I spent a whole lot of time working on my records and trying to be totally different. Beats from the '90s, I think it's really time for me to let all of my nicest stuff go. I got a slew of stuff. And I've been hearing some obscure records. I've never heard those samples used before. I'm looking every day for records.
Can you remember making the beats you put on Beats from the '90s?
Yep. I can remember making the Artifacts' joint. I remember making my joint with Positive K. That was crazy. Wow. “Been There”, the first one, I was in my crib. Wow. Let's see. A lot of the beats were done upstate before I had the S-3000. I think “The Crusader” was done in the B room in Marley's studio. Who was there? It was Trag and I think Monie Love. I had done my tracks with Monie Love around that time. No. It was '93. It was with Trag. That was early. I had some tracks that I didn't really know what I was doing as far as the engineering aspect of it. Man. I think the “Drama” beat, though, that beat was one of my favorite beats. I wish I had that drum kit. Woo! Those drums are crazy. That was made on the MPC 3000 when I first got it. That was, like, '94. “Real Live”, I think was done around the time of “Get Down for Mines”. “Real Live” was on the MPC. “Ain't No Crime” was on the MPC 60.
For the most part, most of those beats were done when I was secluded. There was nobody around me. For the most part, each one of those beats had a purpose at its time. Oh, and the Mic Geronimo beat I did, that beat was done in the A room. Marley and I drove to Rochester. We went to House of Guitars and they had all the records out there! I came back on the plane with five or six boxes of records! We stayed in Rochester and bought two Roland's, a Roland 73 and a Roland 69. I was always fascinated with the Roland. That was great. I was playing the keyboard for a long time, man. I would filter some of the sounds and some of those beats came out crazy. The remix for Mic Geronimo never really transpired but that was a crazy beat.
Did you have more fun making beats in the '90s or maybe are you having more fun now?
I have more fun now than I probably ever did in my entire life. I think I'm having a great time because I'm getting into the theory and the elements. I think when, I was just sampling; it was cool. I listened to a lot of that stuff but some of that stuff doesn't even make sense. Some of it did but most of it didn't. You could only go so far. Now whatever I can think of in my head I can do. There are no machines, out there that can do what I can do on the computer. And I've been on the machine first, so for me to say that…I get so excited with what I can do and what I'm hearing.
When you're sampling you can cut it up, put some drums and a bassline. That's old school and that's cool, but I would rather play what I'm sampling. That's my goal. I think I'm real close to that now, more than I ever have been. And I think that's what I can do to change the game. And programming! Woo! I've been programming these beats too. I want people to hear music and say, “What's that?” It's about the idea of it. The gloominess of hip-hop is not there like it needs to be. When you heard songs from the '90s, there was a certain eeriness to it and you're not hearing that now.
I don't want to do what's going on now. I think I want to make my own breaks and have somewhere come and sample me and make a hit record out of that. I think that's where I'm at now. I'm more challenged with the old stuff from the '70s. Everyone was either on drugs or were alcoholics. Each person in the band was like some master of their instrument and all of them had pain, sorrows and addictions. They went and recorded it and put it on blast. Now you, as an individual and as a “one man band,” are not going to be able to pull off every instrument, but if you can pull some of it off and get your own creative ideas out there, then you'll have a nightmare. No one is going to be able to know what you use, ever. And if it's hot enough, somebody's going to end up using your shit because it's going to be undeniable. They'll never have heard anything like that before. A lot of these young cats don't know about how the music is supposed to make you feel good, not about how you're supposed to be programmed a certain way. The music should make your body feel good. If everybody were to listen to that, there might be a whole lot less problems in the world.
But I think playing and just being creative right now is like it's own high to me; and I'm trying to reach out for people to see it. I was a part of the '90s and I was there and I am happy to have been there. And I have plenty of that stuff to put out. If it ever came to the point where they said somebody was taking '90s tracks to do them again and sell them that; would be a different story. I doubt that would ever happen. There are a lot of entertainers and wannabes. A lot of people wanna be the next guy. And there are a lot of breaks out there that people could be using and they could be played over. But if you want to play something over, you have to find the record first. I'm playing something over where I'm changing the scale of the key so it will be impossible to find.
In my career, I've had enough of sampling. If I do sample somebody and it does come out on a label, my rule is the publisher is not taking more than 25%. I'm taking 25%. If I'm not getting 25%, I'm not using the sample and the deal's not going down. I did a song with Diddy and it was cool. With Bad Boy, you can get a hot joint out there and the producer doesn't get anything out of it because the artist being sampled wants all of the publishing. I'm forced to be playing now.
People tell me the '90s is when I was hot and to use the MP, but they don't know the business part of it. It's not paying off and it's not helping at all. I got two kids. I got two girls. And it's not cutting like that. At the end of the day, I've been on the road doing it for seven or eight years where I've been playing stuff over. I got stuff coming out that's going to be real interesting. I got a few projects coming out. There's going to be no samples in it. It's going to have a lot of cats bugging. I put a lot of pride and energy into it and I'm going to make people say that its absolutely crazy. We need to hear more of that kind of stuff from other people as well. Hopefully I make that kind of impact at some point.
Do you think other producers will be sampling your work?
Producers and DJ's been sampling me since 1994. Some big names have sampled me already and it feels great...
For me, I got plenty enough tracks to send to any major label to get it popping. I got plenty enough tracks to throw out instrumental albums. I got plenty enough tracks for cats in the underground that have a low budget. I got plenty enough tracks for movie scores and soundtracks. The thing about me is I do this seven days a week, 365 days a year. I've been doing it every day for 15-20 years. I got plenty enough tracks. The reason I got so many tracks is because the business don't be right.
I got so many breaks and records that nobody ever used and I just got a lot of records, man. I got a lot of beats. I got over 300-400 beats. I got plenty enough stuff, man. I just think that I have to flood the game. I have to flood it with '90s stuff. I have to flood it with current stuff. The new artists right now lack the history and the knowledge of hip-hop. Either you have knowledge of hip-hop or you know The Sugarhill Gang and 50 Cent and you don't remember nobody in between. I don't know. It's crazy.
If you were going to remake “Gettin' Hot” today, what would you do to update the sound?
I probably would keep the drums and I would probably make the George Benson track go backwards. I'm sorry. You don't understand what I just said. I'm not going to say nothing else about that no more. I said I would make it go backwards and I'm not talking about making it go in reverse. Not that kind of reverse. No. I'll leave that one up to you. That's something for you to think about. I know that nobody understands what I just said until I actually do it.
Do you listen to your old beats and think about updating them?
Oh, yeah. I listened to the ones I made on the MP a lot, and I listened to the mistakes I made and what I would do if I were to do it over. There are a few songs where I played the bassline, and they were out of key. There were other songs I played where I had things out of key. I would have two things out of key on a beat and that turns your song from great to just okay. Yeah, there are a few things I would try to put out. I have all the instrumentals to “The Turnaround”. I was talking to Larry O about that. I might really do that. I might really remix that album. I was disappointed in that because I didn't bring enough compression in the mixing and mastering of the songs. It was still pretty decent. But at the time, I really believed it would have been a whole lot louder if I had done that.
Not to mention, I did it on the MPC 3000 and it really sounded like crap. That's why they came out with the MPC 4000 and the MPC 2500. The Akai products at the time weren't really 16 kHz. They were like 12 kHz or 13 kHz. When you sampled something and you made it go real, real slow, something vintage sounded like crap. If it sampled in 16 kHz, the sound quality would have been better. The SP-1000 was on point with that but the MPC wasn't. When Roger Lynn left Akai, it was over. That's the only reason I stayed with Akai, because of Roger Lynn. He was really nasty with the feel of the MPC and when he left it was kind of dead.
I get ideas on how I would change stuff over. If they would change the sample laws, it would be much easier. After you do a track you have to worry about getting the sample cleared. You're going to give away a lot of your publishing anyway. That's usually what happens. Hopefully that change is over. I think their needs to be some committee and some rules. I'm going to get with a lawyer and we're going to investigate that. There has to be some law against that. They take a person's full publishing when you make a brand new song with something. Look at all the covers out there. Do you think everybody gives the money over? I don't think so. I know the jazz instrumentalists weren't doing that. I don't understand the theories. There's a lot of debate in the game about this and it seems like hip-hop is getting the worst for this. We're getting exploited for this. We can't make it hot because of this.
Do you know how many records I got turned down because of sample clearances? Oh, man. They're greedy. Nobody cares about that record from 1973. You probably made $1000 off that record and now you want to take everything. It's just…I don't know, man. It's crazy. They're killing us. They're killing our music and killing our culture. If they didn't want it to be this way, they should have stopped it on day one. It should have never happened. As soon as Biz Mark came out with “Make the Music with your Mouth”, they should have shut it down.
Do you think beats containing samples will decline in the future?
Yeah, pretty much. It's getting really tough out here and all the tracks out there, producers do sample. I know there's a lot of J Dilla fans out there and the fans, they're hungry and they want it, but the ones that are doing it, don't be surprised if it doesn't get cleared or if you don't eat off of it or if you just get a slap on the back for it; while the artist is on tour getting it. He's working on more songs and you're giving him tracks and none of the tracks they're taking are hotter than the first one. You're mad because you're not making any money from working with the dude and you're not where you need to be. It's the end of your career. That's what's happening with sampling. It's starting and ending your career.
A lot of the cats I know came out with a sample for their first song and it was crazy and it set the bar high and they took all their publishing. At the end of the day, you're trying to see some kind of money in your life with your career and they're killing that right now. They're killing that. That's why you don't hear too many samples today. You might hear it from Dr. Dre but a lot of people are creating electronic shit and I don't blame them for doing it. And you get tired of hearing that. When you hear everybody doing the same thing because they can't be doing what they need to be doing because they feel like they have to do that, it's really terrible.
The men will get separated from the boys. This doesn't happen overnight. You can't just go get a machine and get Pro Tools and make it happen. Nah. It takes years of learning your tools. It's like everything is a rush, rush, rush. That's why you get one good song on the album. People aren't taking the time to make quality music. People should be ashamed of themselves because they got the money and the budget to go record and make a certain sound and make something different. They're not doing it. I'm doing it and I don't have all that. I'm doing all that with programming. I'm doing it' but it takes somebody to do it first for cats to understand that there is another way to make music. You have to get good at it.
I've been chosen to do it this way, because at the end of the day I'm here for the longevity. I'm like a jazz musician in the '70s that was working with all these different artists and doing all these different albums. It's not like he made one record. I'm doing a lot of stuff. I'm going to give my kids a chance to hear that I started at DJing. I started making beats this way, and then I started doing beats that are full compositions. Some of the elements are going to sound like '90s beats. Some of the elements are going to be played over to sound like a '70s break. Some of the elements are going to be played over to sound like an '80s break. Some of the elements are going to be played to sound up-to-date.
I think Beats from the '90s is going to help people who know of me, but don't know about me. Don't get it twisted, I'm from that era. And everything that I say from that era, I've been in it and I've lived it. I was there. I talk about it and I lived it. I was there. For now, people overlook that. They overlook that certain expertise. It kind of pisses me off and I didn't make as big of an impact as I should have. I've been around cats that sold millions and millions of records. There's a certain aura about me and when you heard my record on the radio as opposed to other records, my record was so loud and everything stopped. I can't even explain it to you. It was all about making big-sounding records that were obscure and weird and sounded funky and the music hit loud and in a way that most of the music today is not doing. That's what it was all about. It was about a certain feeling. If you don't have that feeling in there, it's useless to me. You made a record and it has no feeling in it and there's no room for emotion in it or anything else. That doesn't surprise anyone. I don't want to make that record. That's what it's all about right now, man.
Do you have a record that you produced that you're most proud of?
I think I would say…Wow. Wow. Oh, man. Man. I think…I can't really say because it's like the most respect I got for a record was “Real Live Shit” but the most props I got for a record was “Chief Rocka”. I don't know if you understand what I mean when I say that. I got the pats on the back for “Chief Rocka”. I would say it was probably “Real Live Shit” was definitely one of my favorites of all-time as far as the beats I made. It was underground and I was just sampling things like crazy. And then on the second album I got a little calmed down and I started to find my niche. I don't care who came out that year or whatever, that beat was crazy! (laughs) That beat was crazy! Every time I heard it in the club, everyone was having a good time. I remember being in The Tunnel and the whole entire club jumped back when that record came on. I remember that record having a deep impact on myself, and it shook a lot of things up for me.
What equipment are you using today?
I'm using Logic Pro, Cubase, Reason, some Reason refills and about a terabyte of plug-ins. And I'm using at least about a terabyte of breaks and maybe 20-30,000 records around me. Also, I use a keyboard controller. That's about it. (laughs). And I've been rocking on that setup since 1997. I sold my MP in '96. After I lost my deal with Atlantic, I went through a depression. I went around to all of the majors and nobody was picking my beats. I had all this hot stuff. I just sold my MP and got the computer and was like, 'That's the plan.' Since 1997 that's my plan. And like I said, I'm more happy using what I'm using now more than ever because I can think of things that I can do here that I couldn't do on a machine. Every now and then I'll make a beat on the MP just to do it. I'll never forget how to work that thing! (Laughs) I need to get a 4000. I'm really thinking about getting a 4000. I heard the sequencing on that is real good but I haven't heard no records yet. What I was doing in the '90s with my MPC I've never heard anybody do.
What was it like working with Marley Marl?
It was a lot of work. Basically I would come in, and he might be working on a track with somebody, whether it's LL or Monie Love or whoever was up there. I would sit in on the session and I would watch. I would watch and I would talk and I would learn. At some point he just was like, 'Yo' and I had to start figuring it out on myself. We would work on some things together and other times I was just up on my own and he was up on his own. We were constantly out there working. Every day there was a session in there. Every day. There was always somebody up there hanging out and there was always a session going on.
I learned how to mix a record and Total Recall and automation and all that good stuff. Marley is a master, when it comes to the SSL. I learned the SSL up there. Nobody was on his level at the time. I was thankful for learning the SSL because it pertained more to me when I first started dealing with outside clients and I started going to studios. I knew how to work it and I could talk to the engineers there. It helped me on the engineering note a lot. It taught me how to splice takes and how to do a radio show. I learned how to splice takes and clean up my mistakes so they would become flawless. I had a mix-show every week. It was called “pirate radio”. I learned a lot of intangibles.
Other than that, it is what it is. I don't really got too much to say about that other than what I just said. It was definitely an experience, me learning the technical end of the engineering side. I probably wouldn't be working on what I'm working on now without that. I would probably be using the old stuff if I didn't know any better. But I've been around a lot of equipment in my years. I would still probably be accustomed to using the old board and old technology but I've been around a lot of boards and all I need to use is a computer and the software and that's it. I learned a vast majority of mixing skills, such as when to drop the beat out and when to bring the snare in, a lot of stuff that I learned from him that I never heard nobody else do on another record.
Marley is really dope when it comes to mixing records. He knows how to mix records. That's where I learned the most from him in the studio, because I wasn't doing that. And he wasn't confident enough to let me do it until he knew, that I knew what I was doing. I was around engineers all the time and this other engineer was like my buddy. Frank Heller, the houses engineer. I learned a lot from him. I learned about Cubase in the '90s, and I was into some pop stuff back then. I was using the H-3000 back then to time stretch and he was telling me that Cubase could do and; that Cubase could do it perfect. I didn't believe him. There was just a lot of technology for me to learn and how to use them and how to apply them, but once I learned it I was good.
Switching gears, weren't you at the PM Dawn show that KRS-One crashed?
Oh yeah! That was some funny shit. I was bugging. That was a crazy day! Larry O and me, were working with KRS-One at the time and we were in the studio. I think it was the Battery Studios. But anyway, Kris comes in with this magazine and he throws it down on the table and he says, “Look at this!” I think it was the Source Magazine and it was talking about PM Dawn dissing KRS-One. He said, “We're going to the South Battery tonight!” (laughs)
We got there, yo. I mean, Busta Rhymes was there. I think Kane was there. I think Positive K was there. I think Just Ice was there. We were just waiting for PM Dawn to get on. The crew was getting ready to go up there and KRS-One told us to hold up. When their main No. 1 song that they had out came on, he said, “Let's go!” I remember it. I'm not here to lie about the story because I was there. This is my point of view of how it all went down. We went up on the stage. I'll never forget it, yo! This is from my point of view and how it was. We all went onstage. It was Larry O, ICU, and I, my man Black. Willie D picked up Prince B after they punched him in the face. They threw him in the crowd and the whole crowd moved away from him instead of catching him.
KRS was like, 'Yo, Kenny, bring that shit down!' And then “Still Number 1” came on and he did maybe 10 seconds of rhyming and then gunshots went off. Crazy. Gunshots went off and the crowd went crazy. That night was crazy! I'm running out going, 'What the hell just happened?' Black and me, were laughing. We were scared too at the same time. It was pandemonium that night. That shit was crazy. I've never seen nothing like that in my life. And believe you me, that went down. That definitely went down. That was definitely one of the most shocking moments I've seen.
There was that and the Raising Hell tour at Madison Square Garden. There was a lot of blood and violence...It can't get to that point no more.
Are you still in touch with 45 King today?
Yeah. Oh, man. I'm proud of my dude right now. He landed a song on that Hitchcock soundtrack with Will Smith. He's chilling. That's my dude.
What's the next move for K-Def?
Let's see. I got the Real Live Gangster instrumentals dropping. I have a reissue of Willie Boo Boo the Fool with some different songs on there. I got an album called Analog Past, that's going to be some later beats from the '90s. Some of it is going to be MP beats and some of it is going to be stuff that I did when I first started using the computer. I got another joint called Digital Future coming that's going to be no samples. I got a good five or six more albums dropping this year. I'm shooting for completing 20 albums this year.
I have a new group with a rapper named Dacapo, it's called “The Program”. I got an album coming out with him. He's an artist I'm dealing with right now that's underground. He's not talking about the everyday stuff. It's more profitable for the commercial scene but it's still underground. I got a new album that we're working on at the moment right now. I'm kind of swamped right now. But the Real Live LP that I'm working on is going to be coming out and it's coming along and everybody's going to be surprised when they hear that one.
The Program 'The Article EP' http://www.zshare.net/download/10194150e6ba9fd7/
Real Live Gangster http://www.zshare.net/download/6038585a000e37