Saturday, January 31, 2009

Lil’ Wayne Brings Blacks Back to Rock Music by L'Daialogue (OVAGROUND EXCLUSIVE ARTICLE)










New Orleans rapper Lil’ Wayne is posed to continue this year with the winning streak that he had in 2008. His multi-platinum album, The Carter III is still on the charts with all most 3 million copies sold. But, now he has a new genre that he is attempting to conquer.

Rock music.

Yes, Lil’ Wayne wants (and is according to his tentative release date “releasing”) his new untitled rock album in April. But, one could question why would he want to attempt to sing?

He has sung on tracks with T-Pain, Kevin Rudolf and Kanye West. A quick analysis from those songs would leave one with the conclusion that he could not be serious about attempting his newest musical venture. His latest single “Prom Queen” has taken iTunes and many other blog sites by storm by curve ball of this Rock-influenced track.

This trend is not new in Hip Hop music. Many other prolific Hip Hop artists have taken the route of song with some varying outcomes. Andre 3000 along with rhyme partner, Big Boi released 10 + million selling Speakerboxx/The Love Below with Andre almost exclusive singing on his respective disc. Rapper Common tried a little singing on his album Electric Circus. Cee Lo (of group Goodie Mob) has always sung from his group beginning even until his newest collective Gnarls Barkey with DJ Dangermouse. So, Lil’ Wayne is in good company with his venture into Rock music.

It could be said with Wayne’s strong influence in Hip Hop right now many young children (especially Black children) will be drawn back into a genre that now seems further away from its Black roots. Some children don’t even know that almost all of today’s Rock music has been directly influenced by Southern bluesmen and jazzmen spanning far back into the early 1800’s.

It’s definitely not a race thing entirely. It’s an influence thing and Wayne is taking the flag and flying it very high with this next project. It may be destined for the inventors to re-explore the genre that was in many ways taken away from Blacks since the late 1960’s /early 1970’s. The fact that Lil’ Wayne is attempting to play a guitar is opening so many eyes to another dichotic facet that can be ingeniously Hip Hop and Rock at the same time. The children need to see some of their Hip Hop heroes break the oft-repetitious cycle of Hip Hop and explore other genres of music.

So, calling Lil’ Wayne an innovator in that sense is a stretch and a little overzealous. He’s only following in the line of musical tradition that his city has birthed from its inception. It was in his blood. It was only natural that he began experimenting with Rock music and maybe the game will be better because of it. Let’s be truthful: Many Rock singers can’t really sing per se. So, at least Wayne will at least be in good company if it doesn’t work out. He has swag, sales and a mean guitar and you can be sure that he will even any odds of him not rocking out to his fullest.


-L’Daialogue


Lil' Wayne new single "Prom Queen" LIVE!

Tuesday, January 27, 2009

Charles Hamilton vs Serius Jones Battle at SOB's - Subconscious Threads - 1/28/09

Serius vs. Chuck??? I don't know...but it was a good look. No losers here in my opinion.

-L'Daialogue

Check it out:


Saturday, January 24, 2009

The Look Ent Presents SC Production: MIDIMarc Episode

Kevin Sampson of The Look Entertainment started putting together this documentary a couple of years ago about my mans Midi Marc. The dude's a beast (like I already know). But, it's a 2 part series and gives a little insight to the land of South Carolina which is posed to be the next great city in the South to do it.

But, I already KNOW this.


Check it out:




Friday, January 23, 2009

Yung D of Three 6 Mafia’s Hypnotize Minds Talks About New Single, ‘Damn’ Video Shoot















Yung D is doing it mane...check him out. And he has a special message to all of the other "kings" in the city. Look out..lol.

-L'Daialogue

_____________________________________________________

Off of Memphisrap.com:


Go behind the scenes in this video with Yung D, the newest artist of Three 6 Mafia’s Hypnotize Minds label, as he films and talks on camera about his newest single “Damn What Chu Think,” his swagger and more.

“I’m blessed… We top number 4 on 106 & Park, number 1 rap song in the country… them guys [DJ Paul and Juicy J] some blessed dudes, some good dudes, whatever anybody got to say about them… I don’t know, cause I ain’t them, but they treat me good, you know what I’m saying and its love, it’s beautiful,” stated Yung D.

“Big shouts out to the Kings of Memphis Paul and Juicy — numbers don’t lie — anybody else saying they a King they lying. I said it, Prince of the South, I’m the closest thing to the King sucker!,” added Yung D.

The single and new video Damn What Chu Think comes from off Yung D’s upcoming album “Beyond The Glory.”





Project Pat Interview w/ Ms. Drama

Radio personality Ms Drama interviews (North) Memphis, Tennessee vet Project Pat at Asylum Records. The rapper talks about Three 6 Mafia, Juicy J, the Oscars, Trap Music, Crunk Music, Snap Music and his upcoming album, Real Recognize Real.

-L'Daialogue

Check it out:


I'm back...better than ever!!!!!!!!!

Yeah, yeah...


So, my computer has been out of commission for like 3 weeks mane. It was like jail...but hey, I'm back on my grizzly grind folks.

Oh, yeah...fluck Best Buy for ALL of the time lost....but anyways.

Bluff City Daialogue 2 is in the wings and got 2 more thangs coming at ya very soon.

Also, shouts out to Lyrikill and Midi Marc who took pity on ya' boy during these trying times.

I have lost half of ALL of my hard drive files so this weekend is being used to find what I have lost and ride out.

So, welcome back. I got the game on freeze like Obama's federal staff paychecks. Lol.

Ovaground Soundz is back!!!


-L'Daialogue


p.s. President Obama is REALLY in here now...wow! A change has come.

Friday, January 16, 2009

J-Snyder and the Swimsuit Bunnies...



















Dear Young J-Snizzy,


Yes, I'm hating...that's all.

I will get the low down on THIS show...but that's a good look for my mans. When can we get that VG2, mane? And the other Mike Waxx mixtape???

Holla @ me.


-L'Daialogue

Thursday, January 15, 2009

MidiMarc's Happy New Year's Lookback Pt. 1

Yo,

This is what I'm talking about people.

Grin-ding!!! (c) The Clipse

This is the grind. Grinding means getting things DONE other than talking about what you're going to do.

My mans Midi Marc is the best example of that and had a very productive 2008. As a matter of fact, his 2009 isn't looking too shabby either. He blogged about his past wins going into 2 thousand and SHINE so check Pt. 1 out.

-L'Daialogue

-------------------------------------
Whats goin on folks...I wanted to share with you some of my favorite moments in 2008...The majority of these are music related..but what else would you expect from me...lol

January 2008:


If you remember back. I released my American Gangster Remixes on December 4th of 2007. As soon as I posted it on The Justus League website it got sent out..and ended up in the hands of Kevin Nottingham.

His site was just starting to really get popular because he had a whole section of his page dedicated to the remixes people were putting together. I hit him up to say thanks...sent him more music, and he decided to start off the year with a Producer's Spotlight on me. Check it out..and then proceed to the next memory.

http://kevinnottingham.com/myblog/2008/01/13/producers-spotlight-midimarc/

February 2008:


I've been on the radio plenty of times here in Columbia, SC. I've been a guest co-host on DJ Prince Ice's show, as well as a regular at WUSC with Mike S and Sunny D..and with Rullete and Speaks on the HipHop Barbershop, but I had my first out of state radio interview on Emillio Spraks's "Dog and Pony Show" on Staten Island College Radio. I remember being nervous at first because he has A LOT...and mean A LOT of listeners.

As soon as the interview started I was cool...I'm real calm and cool once the mic/camera is on. J Master set everything up and Emilio took care of me. Thats one of the first stops I'm making when I get to New York so I can thank him..and get interviewed live in the studio. Holler at him on his blog http://emiliosparks.blogspot.com

J Master did it again...He was able to get my Nas remixtape posted on HipHopDx. This was huge for me. I got close to 99percent positive feedback on the project, and I foundout that a lot of my friends are regular readers of the website. I would run into folks on the street that I hadn't seen in awhile and they would tell me they saw the mixtape posted up. Getting it placed on the site also took the download number to over 200,000...yeah...OVER!!

200,000. http://www.hiphopdx.com/index/mixtape/id.358/title.nasir-jones-midimarc-the-day-things-got-ill-stillmatic-remixes


Shoutouts to Otis Taylor from the State Newspaper here in South Carolina for doing a writeup. I'm pretty sure my mom brough a bunch of newspapers that day. I remember that Friday I went to a Folk Hop Band show at Headliners and there were people there that recognized me from my logo printed in the article.

BEAT CONDUCTOR: Midi Marc, the Hopkins native who makes suave hip-hop soul beats, has gone the gangster route. He will release a remix version of Jay-Z's "American Gangster," titled "American Beatmaker." (Marc also has a remix of Jay-Z's "The Blueprint""The New Print." called ) Marc's remixes give Jay-Z's tough rhymes a lay-back-and-listen vibe.

For instance, on "Success," which features Nas, Jay-Z sneers at those who perceive his reign over. But in Marc's version he sounds like he's out for an afternoon drive. (Just don't beep your horn at him.)

Marc's reconstructions illustrate a beatmaker's importance to a song's mood. (Marc's mashing of "Blue Magic" with En Vogue's "Hold On" makes the former a listenable song.) Marc is hoping for distribution through FatBeats, but "I'm probably going to bite the bullet and release them myself to Manifest and Sounds Familiar." Marc has produced original beats for rappers I've mentioned here — KcirE SivaD, Akshun, Fat Rat and Dan Johns. And on his MySpace.com posts, Marc has been offering reduced prices for his beats, some for $50.

"Eight out of 10 MySpace rappers just need a few beats for a mixtape so I give 'em out real cheap over and over again," he said. "I normally charge 100 per."

If you listened to some of the beats, you'd know that $100 is still a bargain. Check them out at www.myspace.com/beatsbymidimarc .

March 2008:


I decided to take a lil break, but without disapearing from the scene..so I launched a series of mixtapes called "All Souled Out". Of course my boy Kevy Kev showed love by posting it on his site.

http://kevinnottingham.com/myblog/2008/03/06/midimarc-all-souled-out-vol-1/

Along with it getting some good download numbers online...it was really boomin at the FleaMarket out here. Sunday after church...the old heads would come out there and cop all 4 volumes....Anyone who is gonna visit SC...you've got to come with me to the fleamarket....its an experience.

That March I also traveled to San Antonio....the city where I was born. I went out there to hang with some of my good friends Damon, Mike Gathers, and Amy Jones and her kids..and on top of that, I got to meet my family for the first time....the Panamanian side that is.

My Uncle Otto, sisters Elizabeth and Giana, and my Grandparents: Alphonso, and Isabel. A real experience especially since there was a lot of spanish spoken...i really need to learn so the next time I go out there I won't be so lost. Here's a pic of me holding my nephew Elijah...he tried to keep my bottom lip as a suvineer.

April 2008:


April saw the release of a great mixtape. You've never seen chemistry like FatRat and Shekeese. The Cold War just flows all the way through. One thing I appreciate of every artist I work with is the fact that each one brings a sound out of me...and vice versa.

FatRat has the ability to bring the art out of a producer because he wants you to put your all into the beat, and he repays you when he puts his ALL into the music he records. Each song is very personal, and maybe thats why I like the project so much because collectively its like having a conversation with him. Feel free to download the single produced by me:

FatRat da Czar - Like A FatRat - produced by MIDIMarc


To be continued...

-------------------------------------

Sunday, January 11, 2009

California Plans To Issue IOU's for tax refunds

Now,

Since Best Buy haven't gotten their act together...I went to Venice Beach with the Ms. today. But, man...I come home and look at CNN reporting that the lovely people of California may not get their state income tax returns this year.

Now, growing up in the 'hood...you knew what it was about tax time. People got a little fly, got cars, clothes...pretty much anything they wanted because of the government withholdings that was snatched throughout the year. That's how the 'hood sees it.

California in turn are offering people IOU's. An IOU??? A f*****' IOU??? Now, I'm thinking can people give IOU's for vehicle registration, property taxes and other random taxable things that the state bust people's head open for? Hell no. But that's the gov for ya'...

But, it is reported to begin February 2009...thanks a lot California. And they have the nerve to complain about gay marriage. Damn, that. Give me my money!!!


-L'Daialogue

The Real Perception of Music (and how some see me)

Hey,

This is becoming torture...but hey, you can't rush progress especially in the case of computers (I hate Best Buy as much as they hate that I have a warranty on my computer for 3 years). But peep out this article about "perception". I think it's pretty interesting seeing that it seems a lot like my life in this music.

-L'Daialogue



A Violinist in the Metro
 
A man sat at a metro station in Washington DC and started to play the violin; it was a cold January morning. He played six Bach pieces for about 45 minutes. During that time, since it was rush hour, it was calculated that thousands of people went through the station, most of them on their way to work.

Three minutes went by and a middle aged man noticed there was musician playing. He slowed his pace and stopped for a few seconds and then hurried up to meet his schedule.
 
A minute later, the violinist received his first dollar tip: a woman threw the money in the till and without stopping continued to walk.

A few minutes later, someone leaned against the wall to listen to him, but the man looked at his watch and started to walk again. Clearly he was late for work.

The one who paid the most attention was a 3 year old boy. His mother tagged him along, hurried but the kid stopped to look at the violinist. Finally the mother pushed hard and the child continued to walk turning his head all the time. This action was repeated by several other children. All the parents, without exception, forced them to move on.

In the 45 minutes the musician played, only 6 people stopped and stayed for a while. About 20 gave him money but continued to walk their normal pace. He collected $32. When he finished playing and silence took over, no one noticed it. No one applauded, nor was there any recognition.
 
No one knew this but the violinist was Joshua Bell, one of the best musicians in the world. He played one of the most intricate pieces ever written with a violin worth 3.5 million dollars.

Two days before his playing in the subway, Joshua Bell sold out at a theater in Boston and the seats average $100.

This is a real story. Joshua Bell playing incognito in the metro station was organized by the Washington Post as part of a social experiment about perception, taste and priorities of people. The outlines were: in a commonplace environment at an inappropriate hour: Do we perceive beauty? Do we stop to appreciate it? Do we recognize the talent in an unexpected context?
 
One of the possible conclusions from this experience could be:

If we do not have a moment to stop and listen to one of the best musicians in the world playing the best music ever written, how many other things are we missing?
________________________

Thursday, January 8, 2009

The Story of Xavier University's Barn by ESPN's Scoop Jackson

Yo,

I am still computerless...but hey check out this article about my old hoopin' spot in New Orleans on Xavier's campus. I shook up a lot of cats on that court...lol.

-L'Daialogue


Check it out:

http://sports.espn.go.com/espn/page2/story?page=jackson/081126


ESPN » Page 2

The Barn has impacted many, both famous and anonymous    

By Scoop Jackson Page 2 ( Archive | Contact )

NEW ORLEANS -- It's not what it used to be. The wooden exterior has been changed to brick. But inside, everything remains the same.

I came back for a homecoming. Back to the small university that birthed me. I came here to show my kids a part of history. Not my personal history (don't want those stories to get out), but the history of Xavier University of Louisiana. To show them how a small school can make such a strong and wide-ranging impact; how looks can be deceiving.

"The gym is small," my youngest one said. "Nothing like the gymnasium at Mommy's school."

True dat. But one student body population floats around the 40K level, while the other is closer in size to fifth-period lunch at P.S. 135 -- that's the difference between the NCAA and the NAIA. So I proceeded to tell my sons why this little gem of a gym (called The Barn) that can fit only 1,300 fans is the centerpiece of basketball in the state of Louisiana.

I told them about how Karl Malone and Avery Johnson used to come play here when the competition up at Louisiana Tech and Southern University wasn't good enough for them. How Malone, when his teammate Willie Bland (who many people said was better than Karl) wasn't available, would drive 90 minutes to play pickup here.

I told them about the shows Bland sometimes put on when he came here to hoop. But he'd also sometimes leave the gym having been out-balled by an unknown player trying to get a rep.

I told them about how former NBA great and style icon (bald heads, headbands, etc.) Slick Watts began his legacy here. And how his picture used to hang in the rafters next to the picture of another NBA vet, Bruce Seals. And how the first black player ever to sign an NBA contract, Nat "Sweetwater" Clifton, played here too.

I told them about homecoming games against Dillard University. About legendary games, game-winning shots, blowouts; about fights that broke out -- fights that included golf clubs and people jumping from the balcony straight onto the court.

I told them about "The One and Only," Lou Williams. A player who was so special, he got scholarship offers from almost every D-I college in the South, including Kentucky and Louisville. Offers he turned down because, as great as he was, he cared about basketball as much as most people care about basket weaving.

I told them about how, at 6-foot-4 and built like Roy Jones Jr. circa 1998, Williams could put his chest on the rim. He'd come to the gym and perform dunks we'd seen Darrell "Dr. Dunkenstein" Griffith do, and prove that no one on Phi Slamma Jamma could out-dunk him.

I told them about how Karl Malone came here specifically to play pickup hoop with Williams, because Williams was the player who gave Malone the biggest challenge.

I told them about Alvin "Bo" Dukes, one of the greatest not-discussed, not-talked-about prodigies in basketball history. A player out of Detroit who might only have George Gervin, Curtis Jones, Antoine Joubert, Magic Johnson and Chris Webber ahead of him in the "Who's the best player ever to come out of Detroit?" argument.

I told them about how Bo -- at 5-foot-9 -- led the school one year to a 29-2 record and the No. 2 NAIA ranking in the nation; how he had the greatest on-the-court imagination of any basketball player I've ever seen besides Rafer Alston; about the passes he used to dish out on fast breaks using his knees, or his elbows, or whipping the ball around his neck; how he was cut by the Knicks before he was given a chance to prove that NAIA players can compete on that level; about how he and "The One and Only," in my mind, were probably a better 1-2 hookup than Gary Payton and Shawn Kemp back in the day; how Bo was my idol.

I told them about my first game in the gym, when my head was busted open on game-point.

I told them about how my man Lil' Kevin "Spud" Cooper, a gifted Xavier Gold Rush point guard, came home from a basketball game and said to me, while we sat under the Kappa tree, that he didn't feel good, that his back was bothering him. And three days later he was dead. Spinal meningitis.

I told them about the French Ticklers -- an intramural basketball team that I played on. About how we wore pajamas as warm-ups, and used the Rolling Stones tongue as our logo, and once played the school's varsity team and beat them by 27. I told them about the Home Boys, the team that was so good they kept us from ever winning the illustrious intramural b-ball title (they beat us three years in a row in the finals). I told them about players they've never heard of who left the school as basketball legends without ever putting on a uniform or playing for the university's team. Steve Campbell. Rick Hershel Tolson. Juice. Bobby Nash. Haywood Liggett. King Hozendorff. King Simien. Dean Bracey from Connecticut, who had the great John Bagley's game on duplicate. Michael Henderson from Houston, whose game was so much like Clyde Drexler's, we called him Clyde. Some guy named Burt from New York City -- I can't remember his last name, but I'll never forget how he introduced us to the And-1 style 15 years before the first mix tape hit the streets.

I rolled off so many names, and so many games. Untold happenings that can only happen in a place like this. A place that holds magic. A place where the paint on the court is chipped, and the bleachers are sitting on wheels, and the warps in the floor were there way before Katrina hit the building.

I explained to my sons how, on any given day (or night) in this gym, something very special could happen -- either by future NBA stars, or by drug dealers who happened to be enrolled in school. It didn't make a difference. Where pickup and intramural games could produce big-time crowds. Where a player no one has ever heard of will drive from Opelousas, La. or Biloxi, Miss., just to get a run, to test himself against the best.

I explained to my sons -- who at ages 12 and 10 think pro ball is still an option for them, even though they are legends only in the backyard -- how such a small place had such a big impact on me and so many other people. And on the game of basketball.

They asked me, if basketball is so special here, why was I wearing a shirt that says "Xavier Football: Still Undefeated"?

I told them that at Xavier, it's all about basketball. Plus, Xavier never had a football team.

Scoop Jackson is a columinst for ESPN.com

Wednesday, January 7, 2009

The No Computer Log, Day 3

..and the days go by...so, so computerless...

Sooooooooooooooooo,

I am ultimately computerless (shouts out to MidiMarc for hitting ya' mans on the 'Kick though)...but yeah, without a computer....I'm a little limited in my posting ability.

For the haters...that really means LIMITED. Not crippled, succas.

Also, a big shout out my girl...Ms. NoLaDivine...she gave me a call with some cool suggestions about my posting. I'm definitely heeding the words and hit up all the affiliates of the Ovaground. And click up top to follow me...even if you do it anonymously. (But I would like to see you :))

But, I got new stuff coming up. So good I can't even say right now. Also another shout out to my cuzo 'Cane (nigga, where was you @ when I was in the "M"....2 weeks?)

What else is going on though? Oh, I forgot...the recession. I am still out here feeling the real effects of the recession and I HATE IT. Barack needs to come on and stop playing...lol. (...and we looking for damn change (c) Young Jeezy)

Ovaground Radio is coming VERY, VERY soon also. So, it's A LOT of good things are about to be poppin' off. But until then, I'm computerless mane. Keep checkin' me out though and I will be back up as soon as Best Buy holla back @ me.

I'm looking @ the clock...where's my computer???

-L'Daialogue

Tuesday, January 6, 2009

Walking in Memphis: An Evening with Al Kapone (off Hiphopdx.com)












Off of Hiphopdx.com. Check out one of Memphis' own legend's....

-L'Daialogue


http://www.hiphopdx.com/blogs/50YearsToSoon/2009/01/05/walking-in-memphis-an-evening-with-al-kapone.html


I don’t give praise where praise isn’t due. I have never had anything handed to me, nor have I ever been garnished with any extra praise or respect due to any outlying factors. My work speaks for itself, hopefully, and if not, well I swear my Zach Efron complexion does not give me some sort of disadvantage in my knowledge of all things hip-hop. It’s all music baby, and all that matters is black and white: my words on the page, the keys on your piano, and the contrast of the microphone, dark and brooding and the well-lit stage that it is paraded around upon.



All praises that are thrown upon Al Kapone are due. A southern rap pioneer, providing for his family while running his own independent label for over twenty years. Shit, it’s obvious praise is due. It was my entrance to his world, the low-lit studio in downtown Memphis, that has provided countless inspiration for other artists, movie directors, and even adoring audiences, that like numerous people before me was my inspiration. Forget the plaques on the wall for the hits he’s penned in recent years including “Snap Yo Fingers” and “U and Dat” of E-40 fame, and forget the Craig Brewer film that he inspired. Focus on what’s coming out of the speakers. That’s real. That’s hip-hop. That’s Kapone. And what follows these are just snippets from the thorough one-two I performed while picking Kapone’s brain. I promise it’s not the smoke-filled room that has me ten feet off of Beale. This is Alphonzo Bailey. These are his words.

50 YTS: Kapone, do you approach writing for other artists differently than you do writing for yourself?

AK: Naw, not really. You know, the only difference is writing for myself is more personal and based off my experiences. Writing for other people is still just as passionate and I live with it the same way I live with my stuff. My music is just personalized to my life. When I write for someone else, like the stuff I’m writing for a movie right now it must fit with what they need, the subject matter, whatever. Yet, it’s still the same passion and love.

50 YTS: With the explosion of other Southern Music scenes like Atlanta and Florida (Miami, Tallahassee) why hasn’t Memphis blown up like the previously mentioned places? I mean Memphis has everything from Drumma Boy and Jazze Pha producing to Yo Gotti, Three 6, 8Ball & MJG, and yourself as emcees. What’s the problem?

AK: One thing is Memphis, we never present it ourselves in a united front. Atlanta has presented itself in a united front. Even New Orleans with Cash Money and P, there were a number of different artists that were getting the national spotlight at one time, where they all were repping where they from, and then the whole world had to recognize it. Memphis’ fame has been scattered. Three 6, I mean, even though they represent Memphis, there hasn’t been enough artists to be on a certain level at the same time and to scream Memphis at the same time, it is that more than anything. We haven’t been able to present the city at the same time. Of course, people that really know hip hop, when you break it down, that’s when you realize there are a lot of motherfuckers that did shit. If there are that many artists from different genres did so many things, than why? We just have never been able to present the city in a united front. That’s it.

50 YTS: What’s next for Al Kapone? What can we expect in the near future?

AK: Right now, I just finished music on a movie called Cadillac Records, I just finished the last song in the movie, a collaboration with Q Tip. There’s “$5 Cover” the new MTV show with Craig Brewer (Hustle and Flow). Also, I’m working on music for a lot of other film projects that are coming up, I’m at the 95% percent mark on my own album, the Young AJ album will drop soon, and he’s getting a lot of buzz, a young 14-year-old teen phenomenon. Sir Vince, he’s more of a street artist, currently working on his project through Alkatraz Records. SXSW in Austin, Texas, that’s going to be big. It’s cool, I was actually acting in “$5 Cover”, I was in several episodes got a lot of face time, that’s my first acting debut. I don’t know what’s going to happen with acting in the future, let’s hope the ball keeps rolling. The new album is a live-band album, actually, so that’s something to be excited for. The documentary that I just finished is called “Soul Of A Hustler”, and that’s coming out sometime in ’09, and I’m still serving my term as Memphis chapter President of the Grammy’s. Been busy, man.

50 YTS: Al, I have to ask, what do you think of the auto-tune phenomenon?


AK: I don’t mind speaking on it at all man. Honestly, in the beginning it was unique, I’m damn tired of it now to be flat out honest. Just like anything that’s unique in the beginning, when everyone tries to do it its not unique anymore, that’s it and that’s all. Like damn it, if I hear another fucking auto-tune [laughs], it used to be cool, its been burnt out, I think it will definitely be another phase that falls out. I hate it for the artists who it was their thing like T-Pain and Akon, because it’s gotten so oversaturated. I mean, they probably can last because they originated it, but we’ll see. That’s my take on it, started out cool than they burnt it up, however, there’s one song that I like right now, that “Heartless” [Kanye West] joint, I dig that mother fucking song, man, there's just something about it.

50 YTS: Your use of a live band and a DJ is something that was always a huge part of hip-hop, yet has been left out of a lot of live performances recently. However, live hip-hop always seems lacking if there is no DJ or band. Your thoughts?

AK: I think one thing about hip hop, one of the reasons why it first distanced itself from the live band, was that the production in the beginning was straight based on drum beats. There’s no music… just kick, snare, hi hat, and claps. “Radio” the LL song for example, I mean that’s what phased out the live band side of it, but as it started to evolve more and more the music started to get more into it, it just never picked up the band thing. Of course, you’ve got to pay more people when you’ve got a band, and it’s more of a management problem. But, personally, I love the live band element, there are so many things you can play off and feed off of them jamming, just so much inspiration. I love it personally, I mean sometimes I even hate to perform without the band. The bottom line, is that it was just a natural progression away from live instrumentation and then it got lost in the shuffle. Its actually coming back but everybody can’t do it, there has been an over saturation of the market with mediocre artists but the band thing, that kind of weeds emcees out, you’ve got to be on your game on a certain level to even have a band. You got more to the pure creativity and art and good feel. It might take a minute for it to catch back on but the ones that doing it are doing it well.

Friday, January 2, 2009

Producer's Corner: Zaytoven









Okay,


During my whole long duration at home, I encountered many new up-and-coming producers coming out from the South. Zaytoven is one of those new producers making a huge impact with tracks coming from Gucci Mane, O.J da' Juicemane and Memphis underground legend Playa Fly.

You may not like Zaytoven's production-style but every strip club, regular club and 'hood I went to from the North, South, East and Westside of Memphis was bumpin' something created by this man. So, respect is very much due. Also, he is doing him and it may not be the best thing you've heard production-wise but since my last V.I.P visit...his production sure made the women's bodies do things that I have never seen...but I digress.

Check out these YouTube video of Zaytoven in his studio producing some of his newest tracks for Playa Fly, giving his fans some insight on his production process and O.J. da' Juicemane doing an impromptu Zaytoven-based performance.


-L'Daialogue

Zaytoven in the studio prepping exclusive new Playa Fly tracks:




How to make a Zaytoven square synth:




OJ da' Juicemane performing Zaytoven-produced "I'm Gettin' Money":

Lyrikill Coppin' Kicks Pt.1 through 5

What up people,


On this 2nd day of the year...I feel great. But, my homey Lyrikill sure knows how to hurt people's feelings with his vlogs.

This is EXACTLY why I be hating (lol) on the low...but check out 'Kill on the kicks, mane. It's crazy. Jordans...dunks....mane, I AM HATING. And it seems like the shoes keep coming. His house is a Foot Locker. And when does he gets time to cop all of these shoes? And when is he going to share???? These are questions that the public needs to know...lol.

Hate along with me and check out the videos 'cause I know that more are coming.


-L'Daialogue









Thursday, January 1, 2009

Happy New Years Mane, 200(9)Shine is here...let get it!!!










Now last year...I called 2008 the year of "switch hustles". So, that can only mean that 2009 is the year of "either the shine or grind". I prefer shining AND grinding.

After I just brought in the New Years in Memphis at the Level 2 Club in the VIP section (and trust me...I will NEVER stand in the regular line ever again). But after I gave the club owner my Bluff City Daialogue CD, he looked at it like "Man, that's a tight cover." But, he never played a track though. This won't be how it is this year. But I don't hate...lol.

I spoke to DJ Kenny Kaign and the Bluff City Daialogue 2 is coming plus some more projects. Also...I got some projects with MidiMarc (shouts out mane...let's get it homey), J-Snizzy (my young nigga is bumpin'), Olde Soul (a possible 12 "inch and more) and On1Ne (my West Coast folk...on every project). Plus, a whole lot of secret projects, production and random verses. So, musically...I will have a lot going on and I will execute!

Enjoy the new year...toast to the mans...and peep the motto.


-L'Daialogue