Year 2000 was forced to be big in Hip-Hop. As the whole world saw the changes that came with a new millennium, the culture used the newness of things to seemingly reset from the troubling actions, tones, and violent mistakes of the late 1990s. Hip-Hop as a whole seemed to realize how the actions of a select few had pulled the plug on the colorful music. Headlines eclipsed art for the first time in Rap’s 20 year mainstream history.

Outkast knew this all too well. Their incredible debut album, 1994’s Southernplayalisticadillacmuzik won big at the following Source Awards—but it’s one of the least talked about items of that fateful August 3, 1995 night. At an event when two humble MCs from East Point, Atlanta and Decatur, Georgia were supposed to open up a new conversation in Rap geography, they were booed.

A year to the month after the jeering and cold shoulders at Madison Square Garden’s Paramount Theater, Outkast did it again, courtesy of ATLiens. In a 1996 that was big on overt sample-driven music, and over the top productions, ‘Kast launched into orbit with only creativity powering their space ship. The album was subtle, at a time when brash was winning.

By Aquemini, it almost appeared as if Outkast no longer cared where the props came from. Never seeking approval, or validation, the group pushed on with high potency lyrics, rhythms, and messages in Hip-Hop. The multi-platinum status maintained, but somehow 3 Stacks and Daddy Fat Sax were perceived as the other at a time when mainstream Hip-Hop appeared to be holding “Star Search” for who could command attention quite like Tupac or Biggie.

Thus, Outkast’s Stankonia came at the perfect time—although there truly is no clock for music like this. In a year that desperately sought out new narratives, booming beats, and the complete package, ‘Kast’s fourth album collected big. The world, or those holding the spotlights, finally realized that the Dungeon may be the most interesting lair in music, as Outkast made an album that reached several generations.

Stankonia was a statement album for Big and Dre. In newly-released MTV footage from 2000 (above), Daddy Fat Sax said it clearly: “We gonna give it to you like Outkast give it to you every time: and that’s raw, uncut, and brand new. We ain’t doin’ nothin’ nobody else is doin’ out there on the street. We come to put heat in the game so everybody could jump onto somethin’ new, and get motivated to something real, original, and positive—’cause that’s how we like to make our music.”

That comment speaks to six years of extreme creativity, bucking the trends, and trying to give listeners something for their mind and their backbone. While past efforts may have been treated too lightly, or eclipsed by antics and pageantry, Stankonia was something different. Andre 3000 weighted the significance of following up Aquemini. He explained how it’s treated as “Very carefully. You try not to think about it too much.”

The seemingly major distinction between Outkast in 1998 and in 2000 was Organized Noize. The ATL trio had mentored Outkast and established the Dungeon. Increasingly on albums, the duo (and Mr. DJ) were getting creative ideas executed into fully-produced songs. Stankonia, named after the studio they had recently acquired from Bobby Brown, was their moment of proof. All Outkast albums sound like nothing else in the music space. But Stankonia sounds especially different from the first three albums, although Organized would produce mainstream juggernaut “So Fresh, So Clean,” “We Luv Deez Hoez,” and “Spaghetti Junction.”

“When you own the joint, you stay here all day,” said Big Boi, who also recalled the pair in their teens, waiting for days in the parking lot to slide a demo to New Edition’s Bad Boy. That never happened. But in his studios, it did. ‘Kast found its own path to the light, care of a TLC remix (recorded at what would become Stankonia), L.A. Reid and Babyface, and most importantly—a flawless record of music.

It’s so significant that Outkast would go back to the place that it started. Stankonia, as a mere address and structure, appeared to be a nurturing pilgrimage to the sonic explorers. The duo knew that they wanted to go light-years forward, so they retraced their steps back to the recording womb for their existence. Achieving the cyclical path, Outkast reportedly spent late 1998-1999 as creative shut-ins. That sleep-in-the-studio mentality has become something of a Rap cliche in the last 15 years. After all, thanks to software and the Internet, studios are often little different than studio apartments. However, with Stankonia, Outkast built a town-hall in the middle of Atlanta. While they were concentrated on the album, it was by no means an isolated affair. Whether from the D.F., or a passerby, the smoke-filled, overcrowded environment absorbed the energy of guests and its mainstays. All of it translated. This album, in a psychedelic haze, was able to pinpoint a message so clearly. Reportedly, the artists and their ensembles would take field trips, to clubs and venues, picking players for the album. Like a “buy local, eat local” mentality, the Atlanta sound was paramount to the LP. While players like Erykah Badu, Cypress Hill’s B-Real, and Three 6 Mafia’s Gangsta Boo are there, it is very community-based, clearly by design. Stankonia wanted to welcome the proverbial kids in the parking lot inside—which less than a decade prior, was Andre Benjamin and Antwan Patton. Midnight oil and the feeling of lucid moments of insomniac clarity are deeply at play in songs like “Spaghetti Junction” and “Gasoline Dreams.” However, one could argue that there is not a more energetic album of this level in Rap. All of the deliveries, whether stacked, booming vocals or crisp whispers, are sharp, deliberate, and presented flawlessly.

“B.O.B.” was the vehicle that snuck out of Stankonia Studios and let the fall of 2000 know that Hip-Hop was changing—like it or not. Musically and visually Outkast led a Southern marching band, with a call to action in the space for rappers to “be about it” once more. The upbeat fight song would be a dazzling display of nimble lyrics, and syncopated flows. The music video, forever associated with the song, flips the color palette upside down. Purples, yellows, and over-saturated greens made the sobering commentary on the state of Rap feel like the best kind of hallucinogenic adventure. Outkast proved to be conductors—of the creative train, of a Hip-Hop symphony, and of perhaps the illest drum line ever captured on a Rap record.

A month before the LP, “Ms. Jackson” released. Just as “B.O.B.” set one perimeter for Stankonia, this record set the other limits. What may be the definitive entry of “baby mama” into the mainstream lexicon was slow, melodic, and in harmony. Outkast redefined their roles on records in what is a sung chorus—10 years before Thank Me Later. Although whimsical-as much of the album appears-it is highly relevant to the changing family dynamics in the ’90s and 2000s. Outkast was soulful, clever, and hip to the times. For as much as the group channeled Parliament-Funkadelic and Sly & The Family Stone in places, this was their slow-cooked R&B/Rap masterpiece. What’s more, even in heavily caricatured lyrics and a music video, the song was also personal to the experiences of the band.

From its singles to its rich album cuts, Stankonia was hardly a launch for Outkast, but it was their eclipse. In a time when Hip-Hop was looking in the mirror, and trying to make itself about the music once more, Dre and Big stood up and showed (and proved) they’d been ones doing it all along.

Now competing with the Jay-Z’s, Eminem’s, and Nelly’s, Outkast reminded Hip-Hop that it was guttural. The music lives within you—apart from the great characters, the fearless lyrics, or the galvanizing production. Stankonia is a (Grammy-winning) Rap masterpiece—that brought the music to the forefront in its own culture, while showing the rest of the world that the genre was capable of so much more than what was shown in the headlines.

Related: Can You Feel It: Why 1984 Is Hip-Hop’s Watershed Moment (Editorial)

Tomorrow (November 10), Masta Ace’s 2004 LP, A Long Hot Summer is being re-released on CD by Below System Records. Originally released on Ace’s M3 imprint, the critically-acclaimed album followed up Disposable Arts with the Brownsville, Brooklyn, New York MC making another conceptual, story-driven LP. 9th Wonder, The Beatnuts, Edo. G, Rahzel, Jean Grae, Wordsworth, Punchline, and DJ Spinna are just some of the artists who contributed to Ace’s celebrated fifth effort.

In honor of the authorized reissue, the CD will include two previously unreleased Masta Ace songs. “GMO” (premiered below, by Ambrosia For Heads) and “Globetrotter,” which features AKD.

Speaking to AFH, Masta Ace said, “A Long Hot Summer is arguably my best album to many fans and critics.” The 25-plus-year Rap professional added, “It’s great that artists today are not interested in taking the time to put together concept albums, because it helps my albums stand out even more.”

With a new solo effort, a follow-up to 2012’s MA_DOOM: Son Of Yvonne in the works, Ace threaded the discography needle. “I will continue in that same creative tradition on my new album as well. Fans will get to experience the day me and [album character/guest] Fats Belvedere first meet.”

Although “GMO” was not recorded with the A.L.H.S. sessions, it fits nicely into the LP. Of the song, the eMC member (alongside Words’ and Strick) said, “‘GMO’ is a joint I started writing over a year ago. I got that beat from Brutal Artistry when I was in Leeds, England with eMC almost two years ago. I was just waiting for the right opportunity to finish the verse. Its a very simple 40 bar verse…just talking shit. I don’t do very many songs like that, so this is a special joint for that reason.”

What is your favorite track on A Long Hot Summer?

Purchase Masta Ace’s Long Hot Summer CD reissue on Below System Records.

Related: Masta Ace Remembers Feeling Ostracized By His Native Brooklyn…& Other Personal Stories (Audio)

Although he was born Brandon Anderson Paak, most people who are close to the Southern California artist know him best as Breezy. A nickname that has stuck throughout most of his life, this association eventually became .Paak’s handle as an artist, and thus, giving birth to the first chapter in .Paak’s musical career as Breezy LoveJoy. As Anderson’s musicality developed and flourished, eventually Mr. LoveJoy, the artist, outgrew .Paak, the man. Even though he is still known as Breezy in his day-to-day life, the L.A. resident is now officially recognized within the music community as Anderson .Paak.

If there is one thing that those who still don’t know Anderson can quickly discover, it’s his diversity. .Paak’s range extends across genres beyond Hip-Hop thanks to his multi-dimensional skill set. His musical influences began early and in bulk, with interests in Soul, Jazz, Hip-Hop, Punk Rock, and church choir music. This reach has expanded exponentially into his art since then, as .Paak can be heard tackling everything from the Chicago House (“Milk and Honey”) all the way to the jazzy, Soul musings (“Suede”) and even a Postal Service cover. Clearly, there is no terrain .Paak’s voice and music cannot reach.

In order to continue burgeoning his career for today and into the future, Anderson chooses to live in that uncomfortable space between contentment and fear of the unknown. In celebration of his recently-released Anderson .Paak EP with Blended Babies, Ambrosia For Heads discussed the path Anderson has forged for himself before he foots onward in a brilliantly colorful journey.

Ambrosia For Heads: For those who don’t know about you, can you tell the people a little bit about who is Anderson .Paak?

Anderson .Paak: Yeah. I’m a musician. I’m a drummer. I’m from Oxnard, California. I moved to [Los Angeles] 10 years ago and started drumming for different people and simultaneously, I started writing music for myself. I did that for about six to seven years under the moniker Breezy LoveJoy and then about two years ago I started going by my government name; my last name, which is Anderson and Paak which is my middle name, and I started putting out new music under that moniker.

Within those two years, I’ve gotten to work with a lot of different producers, [Dr.] Dre, and different artists like ScHoolboy Q and The Game and Kendrick Lamar and whatnot. I put out a project called Venice a year ago, this time last year, and also a project called Cover Art. Now I’m gearing up for a new project called Malibu. I also have a side project with a group called NxWorries, with myself and a producer named Knxwledge, and we’re signed to Stones Throw [Records]. Our project should be out sometime early next year as well.

Ambrosia For Heads: So you grew up in Oxnard and that’s about an hour or so away from downtown L.A., which you said you moved to about 10 years ago, but in your youth, how did your community, parents, and family foster or influence your musical growth?

Anderson .Paak: My parents were very supportive. My mom was into Soul music and so that was all the first music I grew up to coming up. When she found out I was interested in music, she supported any way she could. When I was about 12 years old, my step-pops bought a drum set and I started playing on it and I just kinda started learning by ear. He taught me a few things, but it was about a few months after I got the kit, my god-sister invited me to come to church. I went to church and I saw the church band and I was just obsessed with that, the choir and all of the music that they were playing. I thought it was the craziest thing I had ever seen. It was like a Black Baptist church so I had never experienced anything like that. So I wanted to play drums for the church after that. A couple Sundays went by and they started putting me on as a secondary drummer and that’s pretty much where my first schooling was. I played drums in church from about 11 or 12 all the way up until, I mean, I think I finally had to stop last year. I got a little too busy and I don’t play at church anymore, but I do play in my live shows. That was a huge influence on me, just the music that was going on in church and simultaneously listening to Hip-Hop and Dre, and Snoop, Jay-Z and Kanye [West] and all that stuff. My older sister was into [A] Tribe Called Quest and all that stuff, so all these different were a huge factor.

Related: Anderson .Paak Continues to Show What Dr. Dre & DJ Premier Already Knew. He’s a True Talent (Video)

And then the fact that I grew up in Ventura County which is about an hour away and a smaller town, so I feel like the perspective is a little different than if I was to have grown up out here doing music. There’s less people doing it out there and it’s less of a frenzy and we’re kind of looking at L.A. as like, you know, the big city, and we’re outsiders looking into the scene. I think the perspective is just a little different. I had different influences around my way, a lot of Rock and Punk Rock influences. People were into that and a lot of spheres that I grew up with were a huge part of the [local] culture. I think all of those things had a part in the way I make music now and the things I listen to, but I had my parents 100% support. I mean, I was playing drums in church making a little money and I would save my money and then they would match it and they’d give me whatever I want. So one year I want a drum set—get a drum set. [The] next year I want a turntables and then I got an [Akai] MPC and then a mixing board. By the time I was a senior I had a full studio in high school and I was making demos and DJ’ing.

Ambrosia For Heads: When you first got into drumming, producing, and using music as an outlet, what changed within you personally or emotionally that triggered the thought of “this is what I want to do.”

Anderson .Paak: I think it was when I seen the reaction that people were having. When I saw that art can affect people in a good way and that I can cause people to move and have fun. In church, people would come up and say, “Man the way you played those drums, you healed me. You touched my soul,” this and that. And when I started seeing that what I was doing with my talents was affecting people like that, that’s what really moved me to pursue this and feel like I found my purpose. I thought that this was what I wanted to do. It made me happy. I really liked to do it. I was going to do it regardless of money. I was doing it regardless of whether I was getting paid or not. When I chose to do it full time, and it may not have been professional then, but then the business side became a factor. But even still, there’s times when I think I could completely stop doing this and just move somewhere far and just do, you know, be a farmer or something, but I’ll still be playing drums and doing music too. It’s just one of those things I love. Once I’ve seen that it can really get that reaction out of people at a young age, I was just set on it. I wanted to do it all the time.

Ambrosia For Heads: As you were doing that and building your own musicality within yourself, when did Breezy LoveJoy first enter the scene? Is Breezy still around and how does he influence you as Anderson .Paak?

Anderson .Paak: My friends that know me, I’ve been Breezy since I was 11 years old. It’s just a nickname that I have. All my close friends and relatives call me Breezy and they’re probably always going to call me Breezy. I think that’s where it lives at for now. It’s a part of the story of my artistry and I think people that are into my music are naturally going to find that chapter, that Breezy LoveJoy chapter. It’s a great chapter and there was some great material released under that name. I just recently was able to get the Twitter handle changed to @AndersonPaak, so now it’s pretty much all official. But the process was, and it still- I didn’t know what it was going to be because I went by that name for so long, but I kind of just trusted in it and committed to it and I’m glad I did because some people can go back and find it. A lot of people now know me as Anderson .Paak and that’s it. That’s pretty much what I wanted.

Ambrosia For Heads: You mentioned that Breezy is kind of left there for people to look back, but how has Breezy blended himself into Anderson .Paak, or is your redefinition of yourself as Anderson .Paak leaving Breezy just where he is?

Anderson .Paak: Evolution. It’s just evolution. I don’t believe in just staying the same and doing one thing or replicating or duplicating what you’ve already done. I don’t believe in being comfortable with anything. I believe in trying to get out your comfort zone and try new things and pushing to do new things because once it’s boring to me, I don’t want to do it anymore. The Breezy part, it starts there and now we’re at where we’re at now with Anderson .Paak. I feel like it’s the evolution of an artist and some people you don’t get to see grow right in front of their audience, but I don’t think that’s the case with me. I’ve had to grow in front of my audience and evolve in front of the audience It’s been a process, a learning process. I think my true fans have a lot of trust in me and a lot of patience and I really appreciate that. That’s all I can say about it, it’s just a natural evolution of an artist.

Ambrosia For Heads: So as you’ve been evolving into the man that is Anderson .Paak today, if you could, knowing what you know today, what advice do you wish you had when you were Breezy that a wiser Anderson .Paak could have told him?

Anderson .Paak: I would’ve just told him to get your ass up and work. I would’ve tried to push a work ethic on myself if I could say anything to my younger self. I thought I had a lot of talent that I could just rest on and that things would just come to me easily because of that. I didn’t think I had to really work for anything or develop any kind of work ethic or any kind of routine to get where I am now. That was something I learned way later and now I’m making up for lost time. I also think that everything happens for a reason. I think it’s all worked out and it’s all working out how it’s supposed to, but that is one thing I would have told my younger, lazier self.

Ambrosia For Heads: Many people who are discovering Anderson .Paak may know a lot about your recent work with Dr. Dre on Compton, but you recently just dropped a self titled EP, Anderson .Paak, with Blended Babies and a four pack of songs where you are front and center. What was your experience working with those guys and what was your favorite record from the project?

Anderson .Paak: It was real smooth, real easy going man. It was really cool man. JP is a really dope musician and we just got together. We vibed, we smoked, we drank some brews and it was just a real comfortable place for me to record. They ushered in that kind of atmosphere for me to write some material that was personal to me and also some stuff that was more light. I enjoyed the process a lot. My favorite song on that is probably “Cheap Whiskey.” I love “Make It Work” too.

Ambrosia For Heads: How and when did the name for the EP come around and where did you guys record?

Anderson .Paak: We recorded it all at their place in West Hollywood. I was just going over there and recording music. I was just helping them write for a different artist that they were working with. Every time I would go over there I would record a song or two or an idea. And before we knew it we had a handful of material and I wanted to try to maybe put some of it out on Soundcloud, but we finally came to the agreement that they would put it out under Blended Babies and it would be their project basically and I would be a featured artist. I have a lot of projects that were in the nest and I didn’t want to have it be my project or put it out as another Anderson .Paak project, per se, just because I had a lot going on and still do, just with NxWorries, and Malibu, and I dropped a project with TOKiMONSTA, this and that. So I still wanted this music to come out so I thought that was the best way to go about it. They were already putting out music on their own too and I thought it would be pretty cool to have them drop it and I would be the featured artist. That format is something they could do with anybody.

Related: Remember The 50th Anniversary Of The Watts Riots By Revisiting Wattstax (Video)

Ambrosia For Heads: When you first started listening to some of the music that they were throwing around, how did that, if at all, influence your writing process for that project?

Anderson .Paak: A lot of stuff they deal with has a lot of Blues and Soul elements, a lot of guitars and stuff. That was huge for me. It took me exactly there and that was kind of the mode I was already in and it was a good fit for that. I got introduced to them by Bradley Herring and I think he was spot on with their production as it just suited my tone. A lot of their tracks were open and had a lot of space for me to think of different melodies to put on top. That was important to me too. I think it was their blues and soul that really spoke to me and helped me write these songs like “Make It Work,” and “So Slow,” and stuff.

Ambrosia For Heads: What was it like to write alongside Asher Roth, Donnie Trumpet, and King Chip, and how did their work influence or complement yours?

Anderson .Paak: Well I didn’t get to work with any of them as far as recording with them. I met Asher after and he’s a really, really cool dude. I’ve spoken to King Chip and he’s really cool as well. I’ve met Donnie, but you know, those guys were the cherry on top for some of those songs. I thought they added to the songs instead of taking away and it fit. The way I had “Make It Work,” I had what I had for it and Asher had heard it, they played it for him, and I think he was like “Yo, I gotta get on this shit.” When I got back and heard it, I was like “Oh this is dope.” And then same thing with King Chip. I cut it, and Blended Babies they just know a lot of artists and they were just playing it for people. I think every time somebody heard it they just hopped on the shit.

Ambrosia For Heads: That’s great that the music from you and Blended was able to speak to them right away. But along with the Anderson .Paak EP, you worked with, as we spoke about earlier, Dr. Dre, Game, and DJ Premier. If you could, what was your experience like working with those guys and what impressed you most about each of them individually?

Anderson .Paak: Well, I mean Dre is like a part of my musical DNA. That’s the dude that [made me stay] up all night learning their music. His production was always some of my favorites with the quality and the detail of his records is some of the best Hip-Hop out. When I was asked to work with him it was almost like too good to be true. I didn’t think it was really going to happen. But, low and behold, when I got to the studio, he was there. He’s someone I felt like knows about Soul, Funk and stuff so I knew off top he was someone—like Blended Babies—that I could bring out a good tone over some really good production. I thought that was just a perfect fit. For some reason when we got with him, I wasn’t star struck or anything like that. It felt real natural and he made it real comfortable, just like the same I mentioned about Blended. He was another one of those producers that when I get there I’m like “Yeah, it feels good.” You know, of course I felt like “Okay, I need to execute and make this happen,” because I knew I only had one shot to make a good impression and I wanted to continue to work with him. I was glad I was able to execute when it was time to and I enjoy working with him and making music with him. We got more music coming.

DJ Premier, when I met him, he was the same way. He just has so much knowledge and so much time spent in the game so when you get around him and you have these conversations with him you can just tell he’s seen so much and seen so many artists. They’ve been apart of so many situations so when they’re telling me that what I’ve got is special and they love it and they love the sound and everything, it just means a lot to me and it gives me a boost of confidence. So working with him was awesome. I got to sit down and watch him chop up beats and all kinds of samples. He’s just like Dre. He’s very hands on even with the vocal production. So when I wrote my song with him, the first one, in Russia when we wrote “Til It’s Done,” he was in there telling me how he thought I should do different parts and do things over and maybe try this. I was surprised about that too that he had such a great ear for vocal production as well because a lot of producers don’t have that. That was awesome and they’re both perfectionists and good at paying attention to detail.

Related: Anderson .Paak Details the Joy DJ Premier & Dr. Dre Had Working Together (Video)

The Game is awesome as well. He’s another one of those artists that who’ve come up under the schooling of Dre and I think everyone who has worked with Dre extensively, you can tell because of how they get down in the studio. It was just tremendous. When I was with Game, he had a lot people in the studio. It was like a party. It was like 15 women, fuckin’ alcohol, drinks, it was people dancing, his cousins, his family, it was everybody. It was a good time man. It felt like when you got in the booth in front of all those people it was like, “Okay, you better fuckin’ spit some shit ’cause you’ve got all these people in here.” so I was in there for about two weeks with him just going. Some days I would just party and drink and some days we would just make some music. I probably recorded about like eight-10 songs with him and only two made the album. That was a really fun process especially after coming out of Dre’s sessions.

Ambrosia For Heads: As you were saying too, you felt like you really had to spit something. Did you feel any pressure at all? You did say that it went smooth for you, but was there any underlying pressure that you put upon yourself?

Anderson .Paak: I just wanted to keep it consistent, you know? I wanted to make sure that every time I worked with these people they were saying the same thing. I wanted my reputation to be consistent on these tracks and I wanted to be able to execute well. So, I guess there is a sense of pressure, but I spent a lot of time and I still do spend a lot of time just writing and preparing so that when I am in these situations like this that the probability of me executing is very high because now it’s kinda like a habit. What was that song, stunting is a habit? Winning is a habit. I feel like when you are prepared and you’ve developed a routine and you are always in the mode that it shouldn’t be like you have to rise to the occasion or you have all this nervousness because this is what you do and this is what you do. Now there might be some pressure. Sometimes, like with Dre, I would go in for the first time what I did was with something he wanted to work with, and we had to try some different things. Maybe there’s some pressure sometimes because you want to wow people the first time around and this and that, but honestly it might not go down like that and you might have to work for that shit. So, there was no pressure. I just wanted to keep it consistent and make sure that I was killing shit on every record. Every record. Whether it was Game, Domo [Genesis], Busdriver, I don’t care who the fuck. If I’m on it, then you know he’s gonna kill it. I want it to be like that.

Ambrosia For Heads: So now we’ve talked about your work with Blended, Premier, Dre, and Game, but you have Malibu coming up and before that was Venice. What can people expect from the transition between the two and what’s the growing process been like?

Anderson .Paak: I think Venice was an exploration in range and we had a lot of fun playing with different styles and different modes and different scenery within Venice. Now, Malibu, we are still having fun and exploring but I feel strongly that it’s a maturation of what’s been going on. I feel strongly that this album is a little bit more broad and universal than Venice. the type of music that we’re doing I feel like it’s sexy, it’s grown, and I don’t think I’ve ever had this many features before. I mean it’s not a whole lot, but usually it’s maybe one feature, two features. But, I’ve been able to work with some producers that I idolized growing up and I’ve gotten to work with some artists who are incredible that I’m big fans of. I feel like this album is a true maturation of where I’m at now. Like I said earlier with my name, it’s the natural evolution and growth of an artist.

Ambrosia For Heads: I know you’ve done some production for other people, a la Watsky, but are you producing for yourself on any of these projects or are you using strictly outside sources?

Anderson .Paak: I think on Malibu there were about two or three that I produced with The Free Nationals, my band. I know on Venice there was one I produced, “Miss Right.” But this one, yes I had more of a hand in the production and but I also got to work with different producers as well.

Ambrosia For Heads: May you discuss the other artists and producers that are going to appear on the new project?

Anderson .Paak: Some of the producers I worked with are KAYTRANADA, LO_DEF who now goes by Callum Connor, 9th Wonder, Hi-Tek, Likewise of Pac Div who produced a really dope joint with Game, Dem Jointz who did a large part of Compton album. I have ScHoolboy Q, Rapsody, BJ The Chicago Kid and I think that’s it, as of today.

Ambrosia For Heads: I’m excited to hear all of that man and I’m guessing the Rapsody joint is with 9th?

Anderson .Paak: Yes it is.

Ambrosia For Heads: Right on. Well, to wrap up with you here, we’ve talked a lot about growth. As artists, bloggers, and as humans in general we are constantly growing, molding, and changing to better ourselves. Where is Anderson .Paak going into the future and what do you expect from yourself going forward in your career? Where do you see yourself?

Anderson .Paak: I just want to stay inspired and I want to keep getting better. I take it day to day, but I want to stay inspired. I don’t want to get comfortable and be the dude that’s been doing the same thing and thinks that it’s great. It’s just not what I’m into. I want to continue to do what some people say I couldn’t do. Some people have said I couldn’t do records with The Game, and do records with Watsky, and do records with Busdriver, and then do records with Dr. Dre, and do records with Knxwledge, and do records with so and so.

My dream was always to be this radical that you could put in any place at any time and you will always have a common thread but he can go into any room and shine. So I want to continue to do that but just on a bigger level and to be able to partner with people who can help get my ideas across on a bigger level as well. But, I think most importantly, if I’m inspired then I can put good work out and that’s what’s going to make everything good. I want to continue to be around people who can inspire me and be in places that I’m inspired and I can continue to write new, fresh things that resonate with people. That’s where I would like to be in the future and that’s where I would like to be now.

Purchase The Anderson .Paak EP by Anderson & Blended Babies.

Related: Anderson .Paak Continues to Show What Dr. Dre & DJ Premier Already Knew. He’s a True Talent (Video)

20 years ago today (November 14, 1995), The Pharcyde released its second album, Labcabincalifornia. Coming a full three years after their Bizarre Ride II the Pharcyde debut, the LP was highly anticipated, but for many, it didn’t live up to the expectations put forth by the group’s first release. Home to arguably one of the best music videos in history in the form of the Spike Jonze-directed “Drop,” Labcabincalifornia  was considered a commercial failure at the time of its release, particularly when considering the success of the group’s debut. With “Passing Me By” serving as their official introduction, the pressure for a solid follow-up must have certainly weighed on the group, and fans were eager to hear what the eccentric purveyors of South Central, Los Angeles “California cool” had in store. Despite its not being able to reach Gold status, Labcabincalifornia remains a cult favorite, in no small part because of Jay Dee’s extensive production work (in addition to the work of Diamond D). Having yet to fully introduce Slum Village or produce for big-time artists like A Tribe Called Quest, Busta Rhymes, and Keith Murray (all of whom he worked with in 1996), Jay Dee’s work on The Pharcyde’s album is some of his earliest, and has only grown in value since his incredible legacy unfolded prior and after his 2006 death.

Contextually speaking, Labcabincalifornia had much to live up to. Delicious Vinyl had landed a moderate critical success with Bizarre Ride, allowing it to compete with the big dogs at Jive, who scored their own alternative Hip-Hop success with Souls of Mischiefs’ 93 ’til Infinity a year later. At a time when Los Angeles was becoming known as the headquarters for stark, gritty, confrontational Rap music, The Pharcyde offered 1992 Hip-Hop fans an alternative sound, one that centered on whimsy, absurdity, and what NPR called “Southern California’s answer to New York’s Native Tongues movement.” Comprised of Derrick “Fatlip” Stewart, Tre “SlimKid3″ Hardson, Emandu “Imani” Wilcox and Romye Robinson, The Pharcyde was applauded for its unique perspective and integral role in the formation of what can be termed the “second wave” of Los Angeles Rap; along with artists including Del tha Funkee Homosapien, Freestyle Fellowship and others, The Pharcyde initiated the musical path that would influence such artists as Jurassic 5 and the Living Legends several years later. Just as Los Angeles today, where artists like Dr. Dre, The Game, and Kendrick Lamar run concurrently with MCs like Busdriver, Nocando, and Open Mike Eagle, the Hip-Hop scene dovetails between the mainstream, commercially giant music with the alternative, more modest artistry and much of that blueprint was established by The Pharcyde.

Formed in 1989, The Pharcyde had been together a full six years before releasing Labcabincalifornia, and the maturity showed (even on the album cover, which featured the four men in suits, albeit nontraditional, seemingly suggesting they weren’t quite ready to grow all the way up). The themes running throughout the record are not entirely morose, but neither are they as lighthearted as those on Bizarre Ride. Now in their mid-twenties (for the most part), the group members had experienced fame at a time when they were too young to legally drink, and with that came the predictable onslaught of hangers-on, yes men, and fairweather friends, as well as the stresses of dealing with overnight fame at a young age, something lamented over on tracks like “Runnin’,” the album’s second single (“Can it be I’m a celebrity who’s on the brink of insanity?”) and dealt with in the music video. On “Moment In Time,” Slim Kid3 gets very introspective as he mourns the loss of life in his own family (“I recall being three when Sunny passed away, one of the greatest in my eyes ’til this very day…”), and on “Devil Music,” Bootie Brown tackled systemic racism in history and the music industry (“As I ran up and down the TV stations, I witnessed Indian Joe getting tricked out of this nation by a silly hillbilly who laughed as the shit happened/Everything’s the same, the game continued into rappin’).” And, while the group was always credited for its affinity for the more complex, thoughtful lyrical content, Labcabincalifornia‘s more melancholy approach drew ire from many critics (for example, the group’s hometown newspaper, the L.A. Times, gave it two stars). In his list of the top 25 albums, Chris Rock remarked “Only in Rap do you get one-album-wonders…I don’t know what happened afterward, but the first Pharcyde album is incredible,” sadly disregarding some of Hip-Hop’s greatest work.

In hindsight, such critiques seem laughable. After all, “Drop” was the lead single. In addition to the song’s infectious sound and the members’ experimentally brave rhyme schemes, the music video is one of the most memorable of all time, thanks to its use of reverse time. In it, the group is seen walking through Los Angeles, backwards. Directed by Spike Jonze, it incorporated several interlocking layers to deliver the final product, which appears as a seamless, easily executed experiment in surrealism. However, the processes involved are extraordinarily ingenious and involved not only the critical eye of Jonze, but also The Pharcyde. Having previously directed the Beastie Boys’ videos for “Time for Livin’,” “Ricky’s Theme,” “Sabotage,” and “Sure Shot,” Jonze was tasked with helping The Pharcyde’s return to the music industry, and he delivered. In the mini-documentary below which exposes behind-the-scenes footage of making the video, the group members can be seen walking backwards, a task counter-intuitive enough, but that wasn’t all they mastered. All four worked with linguistic professionals in order to deliver the recitation of the song lyrics in reverse, which Slim Kid3 described as “learning another language.”

While considered by many to be the group’s crowning achievement, “Drop” was not an outlier. Labcabincalifornia also featured the humorous “Groupie Therapy,” which incorporated the sounds of A Tribe Called Quest’s “8 Million Stories” and Queen Latifah’s “Ladies First,” making it a signature Jay Dee fingerprint. “Bullshit” and “The E.N.D.” bookend the album, each track providing the jazzy earmarks found throughout the LP, but including a sense of extemporaneous delivery of a group that was fully in sync without feeling over-rehearsed. And, perhaps encapsulating the group best is “Somethin’ That Means Somethin’,” in which Romye’s words about the music industry (“The record companies are quick to end the fantasy…’cause in this capitalistic society money is all”) are echoed by Fatlip’s emphasis on making music that matters (“Been through so many trials and many tribulations, but I do this shit, I do this shit, I do this shit for the people of my nation”).

Evidently, the group’s consensus on what it meant to be a true artist wasn’t enough to keep them together, and Fatlip left the group to pursue a solo career. They would release two more albums as a unit and four E.P.s, but none reverberated with as much strength as the group’s first two studio albums. Two decades later, Labcabincalifornia remains a touchstone in the development of the West Coast sound, ironically with much of the help coming from a Detroit native and in today’s trend towards a resurgence of ’90s-influenced sound developing in contemporary artists, many Heads would likely embrace a 20th anniversary re-issue of the album uproariously, as they did with Bizarre II the Pharcyde in 2012. But perhaps such a move would serve in direct opposition to Labcabincalifornia‘s place in Hip-Hop history – sometimes, the understated is the most influential.

Related: This Pharcyde & Brand New Heavies 1992 Yo! MTV Raps Left The Mic With A Fat Lip (Video)

Tech N9ne crams as many words and ideas into his energetic bars as he possibly can. It is this feat that has made him one of the most revered MCs of the last 15 years. He has become an independent deity, simultaneously skyrocketing in status, wealth, and respect, while much of the music industry that once shunned him looks for its parachute chord.

When you speak to Tech N9ne, that same fervor, energy, and ecstasy claws its way into every sentence and idea. To say that Aaron Yates is exuberant is a drastic understatement. Repetitive, profane, and profound, he is part Muhammad Ali, part Bernie Mac, and yet completely original. This is a man who loves rapping better than most who ever attempted the art. Sitting in a studio within a compound that looks more like a Bond villain’s lair than a record label—Tech N9ne laughs, he jokes, he expertly plays the part of a man living the dream.

But this is no act. As a few questions about the just-released Strangeulation, Volume 2, Hip-Hop, and Strange Music lead to greater discussions, Tech N9ne’s story is something that’s always present. He tells it, again and again, and it never gets boring. The man who has erected a Rap monument in the Midwest provides hope to all our of dreams, and the meritocracy that skills can actually pay bills. In speaking with Ambrosia For Heads, Tech speaks about the state of the Rap cypher, his status within his fan-base, and opines on Rap’s greatest album of all-time.

Ambrosia For Heads: Peace Tech.

Tech N9ne: What’s up, brother?

Ambrosia For Heads: How you been, man?

Tech N9ne: Man…signing 5,000 pre-order booklets of my new Strangeulation, Volume 2. I just finished yesterday evening.

Ambrosia For Heads: Your wrists gotta be tired. I appreciate you taking the time to speak to me.

Tech N9ne: All good…it’s more like my right shoulder. It’s like a machine that does [its job] 5,000 times. After a while, you get a little cramped up.

Ambrosia For Heads: We posted up the first cypher on Ambrosia. You made a really strong point in there: They laugh at you ’cause you paint your face, but it’s a reflection of your ancestors. I’ve had the privilege and honor of spending some time with you, and I know that you have a lot of rituals, especially when it comes to performing — and I’m sure [equally] when it comes to writing and just living your life. How many of those rituals do you find are in touch with things like your ancestors, heritage, and even your own family and relatives?

Tech N9ne: Well, just putting the face-paint on when it’s time for battle… my ancestors, when it was time for battle, [used] face-paint. When I go on that stage, I’m trying to prove myself every night—to those who are just seeing me for the first time, those who called me corny once upon a time and then wanted to come see. When I throw that paint on, I’m a different person. I go to war on that stage. That’s why we sweat like we do—like we’re going to war.

Krizz Kaliko feels the same way, it’s just that he don’t [have to] put on face-paint. He has natural face-paint: it’s called Vitiligo. [Chuckles] While people steady callin’ me corny ’cause I don’t look like the average brother from the hood… Like, I was born in Wayne Minor Projects…the fact that I don’t look like that on stage, this, that, and the other—it makes me “corny” ’cause I paint my face, when our ancestors did that when it was time of war. It is like a ritual, because when that face-paint goes on me, bruh, whatever I wouldn’t say in a normal form, comes out of me. Whether it be vulgar, forceful, whether it be degrading to other people, I don’t know…whether it be like super-mean. Naturally, I’m an overly nice person. It is like a ritual; I have to transform into that superhero that I feel like on stage, man.

Ambrosia For Heads: These Strangeulation albums have cyphers, which are really cool. It’s interesting: the first time I ever saw Tech N9ne on television was Sway & King Tech’s “Cypher” video. I remember, “Oh, I’ve heard this guy. This is who he is? Cool.” People talk a lot about the evolution of the freestyle. You’ve been doing it for more than 20 years, how do you think the cypher has evolved in Hip-Hop?

Tech N9ne: Well…this is what I’ve found to be how it changes: I don’t think it’s changed at all, brother.

I think that there’s a beat, and there’s a chance for you to show your flow. Generation after generation will bring their flow. The flow that stuck out to me in this latest BET [Hip Hop] Awards [Cyphers] is Joyner Lucas from Worcester, Massachusetts. Like, “Whoa!” And Redman just murdered everything as well. It just keeps goin’, man. It’s a different beat, every year. The year I did it in the BET Cypher it was James Brown – “The Big Payback.” [Mimics beat] And I went on it! It’s the same, but everybody – generation after generation, gets to express what they feel over that beat—whether it’s written, whether it’s freestyled. Most of the time, what I’ve learned, is even the freestylers jot things down and remember. So everything is written is what I found out when I did the BET Cypher.

Related: Joyner Lucas Stunned The BET Cyphers. He Brings That Excitement To A Busta Rhymes Collabo (Audio)

When I posted my [lyrics] to [this] cypher, one dude said, “Cyphers are supposed to be freestyles! This ain’t no cypher!” I’m like, yo, if you can show me a nigga that can flow like me and bust like me, and that’s a freestyle? This mothafucka should be a billionaire. [Laughs] [That’s] what I say! I didn’t want to kill his idea of what a cypher or a freestyle would be. The only dude I never saw write nothin’ down is [MC] Supernatural. [Chuckles] And you can tell those are freestyles; [spectators] are handing him things and he’s just goin’ [on rapping about them]. But when you have a style like Tech N9ne’s, that’s technical like that, you ain’t freestylin’ that shit, my nigga. Whether it be Kendrick Lamar or Joyner Lucas or whatever, no matter if it’s written or [freestyled], if it’s fly or dope, it’s dope!…whether written, or freestyled.

Ambrosia For Heads: You mention lyrics being written down. When I first heard Tech N9ne it was on the Gang Related soundtrack. Your name stood out to me, and then “Questions” just jammed. At that time, in 1997, I don’t know about you, but nobody in my family had a computer. So it was just listening to music. Nowadays, Hip-Hop—in many ways—lives on the Internet. People can go online and see just how beautiful, and intricate, and technical your rhymes are. Your status has risen so much in the last 20 years. Do you think sites that post Tech N9ne lyrics have helped cultivate your following?

Tech N9ne: Oh yeah, man! Everything I did back in the day… especially “Questions.” “Questions” was a turning point. That was the first time I was on something that sold millions of copies. I was the only guy on that soundtrack that wasn’t on Death Row [Records]. A lot of people remember me from “Questions.” The only thing I say about that… the curse to me now—since ’98, “Questions,” Gang Related soundtrack, Tupac [Shakur]’s last screen performance before his death—everybody wants me to rap like that when they send me a record. [Laughs hysterically] That’s the curse I have. They want me to chop. When people say, “Aw, Tech N9ne got the same flow every time I hear him.” Nigga, you heard my features, ’cause that’s what [the artists] want me to do.

Listen to my albums, and it’s everything I do: I slow it down, I do everything. But if Twista sends me a record, what you think it’s gon’ be? If Bone Thugs-N-Harmony send me a record, what you think it’s gon’ be? If Busta Rhymes sends me a record, what you think it’s gon’ be? If Eminem sends me a record, what you think it’s gon’ be? It’s always been that way, because of “Questions.”

Every once in a while, I like to just rap. Like, Havoc just sent me [some] Mobb Deep [for a feature]. I get to rap! I love it. [DJ] Kay Slay just sent me one. I did one for him, and I got to rap. I love it. You know what I’m sizzlin’? I’m not saying that to say I don’t like to chop. I do, it’s just very hard to write. But I’m very good at it. I’m from the Midwest, and that’s what we do.

So you brought up “Questions,” and I know for a fact that the things that I did back then are the reasons why I got my fans in the first [place]. But I’ve been able to keep my fans… every once in a while a mothafucka might get mad at me for being on Tha Carter IV. “I ain’t fuckin’ with Tech N9ne no more, ’cause he’s mainstream, ’cause he fuck with [Lil] Wayne,” or shit like “Hood Go Crazy” with 2 Chainz and B.o.B., “I don’t fuck with Tech N9ne, ’cause he’s mainstream!” But as soon as I do something with Corey Taylor of Slipknot, “Oh! Tech N9ne’s back!” Or I do dark stuff like [“MMM”], “Oh, Tech N9ne’s back!” When you’re three-dimensional, like I am, bro, when you got the gangsta shit, and you got the sexual shit, and you got the dark shit, and got the Rock & Roll shit, and got the sentimental shit—and you got everything—because I created Tech N9ne to be the MC that had everything. [He is] my perfect MC that does everything: Rock, Rap, Jazz, Blues, [and so on]. When you have all that, you’re gonna have people that don’t agree. The gangsta mothafuckas don’t like the Rock & Roll shit. The Rock & Roll mothafuckas don’t like the gangsta shit; they don’t understand it. The sentimental mothafuckas probably don’t like the sexual shit. It just happens that way. I know everything I’ve done thus far, I’ve been able to keep my fans, and keep increasing—and I’m blessed, no matter who the fuck falls off because of who I work with. They mad at me. “Aw, he’s workin’ with T.I. now! It ain’t the Tech N9ne I used to know.” Yeah, ’cause nobody didn’t wanna fuck with me back then! They thought I was too weird. They saw that face-paint, they got used to it, and the like, “but the nigga can rap. I think he’s talented.” So the mainstream started to respond after all these years.

Ambrosia For Heads: My favorite record on the new album is “Blunt And A Ho.”

Tech N9ne: [Laughs loudly] Oh, you heard the new album?

Ambrosia For Heads: Yeah, yeah. Richie sent it to me, so I got to hear it.

Tech N9ne: Whoa! That’s beautiful!

Related: Tech N9ne & Murs Make A Jam About Stresses Building Up & Self-Medicating (Audio)

Ambrosia For Heads: What I love about [the song] is the message. I think it’s the best collaboration of you and Murs—two MCs that I’ve loved on your own for 15-plus years. This is like the track that I always imagined—and Ubiquitous does the damn thing too. What I love is…the beat and the chorus are one thing. In actuality, what you’re talking about is self-deprecating as hell. Tell me a little bit about this, ’cause so many of your songs have always enjoyed that sort of juxtaposition, as have Murs’. It has a great interlude to jump it off, and I think it’s one of the singles; we put it up on Ambrosia today, actually.

Tech N9ne: The thing about it is…I know when I’m looking at a sheet and says, “Okay, I gotta do a couple with Murs.” I said, “I want it to be more of a Hip-Hop feel. And I want to put [Ubiquitous] on it, ’cause CES Cru is more of a Hip-Hop feel.” Murs is part of the back-pack [movement], and CES Cru are super-lyrical guys. When I constructed the beat in my head to give to my producer Seven, I was [mimics  the chorus on a drum beat]. That’s from me bein’ a dancer back in the day, dancin’ to A Tribe Called Quest and shit like that and Black Sheep’s [“The Choice Is Yours (Revisited)”]. [I had] the flat-top, wearing the [M.C.] Hammer pants and all that, the patent leather shoes, with the Kwamé streak through my [hair]—everything. That’s me, back then. So the tempo is not trappish, and the flow is not trappish as well [whereas] “Chilly Rub” might be.

I told myself I wanna get Ubi’ and Murs on one—I knew “Blunt And A Hoe” was the one. We can speak about our problems that we’re going through, but just sayin’—and this is such a Tech N9ne idea—’cause everything’s fucked up, but all you need is a blunt and a hoe. That’s me—even though Murs don’t smoke. So when I sent him that [interlude voicemail], that’s a real message I sent to him. It was his idea to put it on the album. He sent it back to my engineer, like, “I think you should use this message before the song, so people can hear how Tech sends us ideas.” So that’s a real message where I say, “Murs, I know you don’t smoke. But I’m gonna get you high today!” That’s real shit [between us]. He told me, “Yo Tech, I’m goin’ through some shit right now. This couldn’t have been more on time, dude.” Ubi, he can adjust to any musical situation, just like me. He’s gonna be alright; he can find something to talk about. But the beat [and part of the drum pattern] came from my head. I just send [all that] to my producer Seven, and he’ll come up with everything else for that song. It turned out fuckin’ beautiful! We shot a video, it’s gonna be comin’ out soon. I had no idea that this was gonna be a single. It was just talkin’ about my problems, like I always do—but I shared this with my artists. Them being elite artists, they were able to mesh with my idea of havin’ a blunt and a hoe.

Ambrosia For Heads: This is a Collabos project. You mentioned Death Row earlier, and you can look at certain labels and watch them evolve. The roster changes, the styles, the tone of a label changes. With this album, it’s a great here-and-now for what Strange is like approaching 2016. How do you look at this [Strange Music] compared to some of the lineups that you’ve had five or 10 years ago?

Tech N9ne: Well, this is what I know: Now, the roster is truly totally elite. We’ve always gave quality music with the [artist] that were on Strange. We’ve always prided ourselves on giving the people quality music. But to be about to put out a Strangeulation 2 and say, “Fuck y’all, we got y’all on a tighter choke-hold,” ’cause we’re doper with the beats, and doper with the flows. The roster is murderers. I’m blessed to be in the position to say, “This is me showcasing all of my artists, and I’m proud of these mothafuckas, man.”

The ones that fall to the wayside is ’cause they couldn’t hang—I’m sorry. It was fun while it lasted. What I’m trippin’ on is how many different styles is on this album. We got Darrein Safron doing R&B/Trap shit, kinda, Prozak doing the dark shit, CES Cru doin’ the super-technical shit, Stevie Stone doin’ the hard-hittin’ club-bangin’ shit, [Big] Scoob doin’ the gangsta shit, Krizz Kaliko doin’ the Jazz/the Gospel/Country/EDM shit. Tech N9ne adjusted to every musical situation, even Mackenzie O’Guin, Travis [O’Guin’s] 16 year-old is doing some Pop music on here. I’m proud of her, and what she’s become, musically. I’m on there with her, as well. Tyler Leon with the Metal shit, with “Tell Me If I’m Trippin'” and “Torrid.” I’ve adjusted to every musical situation.

I just had my 44th birthday, November 8, and there’s no signs of getting wacker, only better with time. I just moved into a $3.3 million home. I’m just lookin’ at it like, “Look at what’s goin’ on this late in life.” I’ve seen mothafuckas be up, and come right back down and nobody cares even more in the Rap game [and] the music game. And we’re still on the incline. [Mimics Big Sean’s “Blessings”] I feel way up; I feel blessed! When I come in the studio right now that I’m sittin’ in, Strange Land, and I’m seeing a building being built next door that’s bigger than both of our buildings at our headquarters, I [remind myself] that I’m so blessed to be a part of something that’s still growing—when the music business is plummeting because of streaming, and [artists] don’t make as much money as we used to make. We can still make money by getting out of here and fuckin’ touring, and taking my artists on tours. And our built-in fan-base still buys our physical copies, they buy digital copies, and everything. We still found a way to stay afloat, and I’m so blessed.

Ambrosia For Heads: You mentioned Mackenzie. I’m not saying this because you and Travis have been so kind to me over the years, but “Actin’ Like You Know” is another record that I love on there. You said Pop, but it reminded me a little bit of Jay Z & Linkin Park. To me, this belongs on every radio station that plays Paramore or Evanescence.

Tech N9ne: Me too!

Ambrosia For Heads: We’ve watched Gnarls Barkley tip the scale of independent—we’ve watched Macklemore do it. Do you think a record like that, whether it’s this specific one, or five albums from now, can get the recognition it deserves, even from Rock or Pop radio?

Tech N9ne: We’re trying, man. Krizz Kaliko’s new album with Darrein Safron and Mackenzie [is] trying to expand and put Strange everywhere—like have a Strange nation, my nigga. I mean it’s like, why stay in a box? I’ve never been in a box. That’s why you heard me on the songs with Deftones and with The Doors, and Slipknot, and System Of A Down, and shit with Mint Condition, and with T.I., Wayne, 2 Chainz—where’s the boundaries, my nigga? Why should we just stay, that? Can’t we expand and do Jazz and Blues too? Like me and Krizz Kaliko gon’ do. Why can’t we do Rap music like me and Krizz Kaliko do? It’s strange that some rappers could do it, so we here are at Strange Music. We are hiring new people and new teams to do this for us, and help us do this. We want to be here. When everyone is plummeting, we still want to be on the incline, and at the top, my dude. We’re showing no signs of slowing down.

Ambrosia For Heads: Two quickies. My favorite album of yours is All 6’s & 7’s—it has been since it dropped. But you’re in touch with your fans more so than any artist I’ve ever encountered. What do the Technicians tell you? ‘Cause right now, on Ambrosia, we’re asking over one million people on Facebook, “What is the greatest Rap album?” So when you’re talking to [fans], what do you tend to hear most within your catalog?

Tech N9ne: I hear Everready, 2006. I hear Everready a lot. I hear All 6’s & 7’s, but I mostly hear Everready. But how the fuck dare they? When there’s something like Something Else, when there’s something like Special Effects, how the fuck?—You can have your favorite, but how the fuck dare they, when I’m polished as fuck on Special Effects!

It’s like this: You know Eminem can rap his ass off. After a while, it’s no big deal! And they say, “Aw yeah, we expect that of him.” “Oh yeah, Ubi killed it, Murs killed it, but we expect it of Tech.” They used to me! Okay, I ain’t givin’ you more records, mothafucka! I’ll give you all my artists and then they’ll be fiendin’ for my ass again! See that when I drop something like “He’s A Mental Giant” I’m bustin’ on every mothafucka. Or, I drop a song with the greatest rapper that’s ever done it—in my eyes—Eminem, and me and Krizz Kaliko drop a song called “Speedom” and ain’t nobody trippin’. Okay, okay—they used to us, my nigga!

Related: From Rap God to Speed Demon. Tech N9ne & Eminem Flow Furiously (Audio)

A lot of mothafuckas say, on social media, “He ain’t made a dope album since All 6’s & 7’s.” I’m like, “That’s your opinion, bitch-ass, mothafucka! That’s cool. But let me tell you, I’m getting better and better.” So when I drop ‘MMM,’ they’re like, “Oh! The Tech N9ne is back!” I ain’t went anywhere, you’re just used to me. I give too many albums a year. These mothafuckas are used to me, and Eminem, and Busta Rhymes, and all these niggas that kill everything all the time. They used to us. We need to lay back on these mothafuckas for a minute and let our people go and get they money, and then they’ll be beggin’ for us to go and do shows and do flows and everything. ‘Cause we are always [responsible]. So when you hear a song like “Slow To Me” with me, Rittz, and Krizz Kaliko, and we show mothafuckas how to hit that staccato flow—mothafuckas don’t know what staccato is. You young, nigga! We tryn’a show people [mimics flow]. I’m trying to show these mothafuckas how to flow and it goes over they head ’cause they used to us! Yeah, that’s cool. Just know that I fight for this music [especially my newer albums].

After this one, where I show ’em that I can adjust to any musical situation—which I’ve done through my whole career, I’m gonna do this album—October, September—9/9 maybe—I’m gonna do this album called The Storm. It’s gonna be my next LP, called The Storm. I’m gonna show mothafuckas that I ain’t even slowin’ down. I’m gonna show mothafuckas—and everybody that’s on Worldstar talkin’ shit—”he corny, ’cause he paint his face”—”he makes music for kids who shoot up schools”—aiight. Aiight! I got somethin’ to prove to all these niggas; it’s all good! I ain’t relaxed. I don’t care that I’m in a $3.3 million house. I don’t care, nigga. I got somethin’ to prove! ‘Cause these mothafuckas is used to us! [Chuckles] And I’m sure Eminem’d say the same thing.

Ambrosia For Heads: My last question is an easy one. We’re asking [our readers] on social. What is, in your opinion, the greatest Rap album of all time?

Tech N9ne: The greatest Rap album of all time…would probably be between Public Enemy’s It Takes Of Millions To Hold Us Back or Niggaz4Life by N.W.A. Hmmm. It’s been some more. It’s been some more… The Blueprint, Jay Z’s [album]. There’s been more. But my era—I’m 44, my nigga—I might feel like I’m 22, but I’m not. So [I choose] mothafuckas that made me want to rap: Public Enemy.

Ambrosia For Heads: Tell me why that album, for you, means so much.

Tech N9ne: Man, from beginning to end, mothafucka! You know what I’m sayin’? “Don’t Believe The Hype” is on that mothafucka! “Black Steel In The Hour Of Chaos” is on that mothafucka! How many songs that showed people how to use the James Brown “Funky Drummer” [sample]? It showed mothafuckas how to do Rap music! It showed N.W.A. on how to mix samples and everything. [Hank and Keith] Shocklee, with their style of music, showed [Dr.] Dre, I’m sure! He’ll say it. Say it! These mothafuckas was like in cahoots. That’s why Ice Cube [is on] “Burn Hollywood Burn,” because he was a fan—of Big Daddy Kane and all them other mothafuckas. Chuck D [and] Public Enemy, and made them want to do that shit, man. [They] made them want to be conscious. Fuck yeah! Where did Ice Cube go when he went on his own [with AmeriKKKa’s Most Wanted]? He went to the mothafuckin’ Shocklees!

Purchase Tech N9ne’s Strangeulation, Volume 2.

Related: Kendrick Lamar Joins Tech N9ne & MAYDAY in the Video for Fragile (Video)

At the time of its release, Erykah Badu’s sophomore album was often labeled as the sister album to D’Angelo’s Voodoo, which had dropped 10 months earlier. Released on November 21, 2000, Badu’s Mama’s Gun was intimate, soul-baring, and one of the leaders of the Neo-Soul movement that presented an alternative form of R&B during the era when overly produced and packaged artists like Destiny’s Child and Jagged Edge were ruling the charts. But Ms. Badu was no stranger to chart-domination herself; in the weeks leading up to its release, Mama’s Gun enjoyed the view from the top of the Hot R&B/Hip-Hop Songs Billboard charts thanks to “Bag Lady,” a wistful plea to anyone carrying around emotional baggage to let go and move on. The Grammy-nominated lead single connected with Hip-Hop fans with its sampling of Dr. Dre’s “Xxplosive,” (who also earned a co-writing credit for it), and the platinum-selling album served as a re-introduction to the Soulquarians, a group of creatives who had previously left their musical fingerprints all over The Roots’ Things Fall Apart, Common’s Like Water For Chocolate, and of course Voodoo. Badu described Mama’s Gun as something for young Black boys and girls to keep with them for protection, but it may also have had a much more personal meaning. It was released shortly after giving birth to her son, fathered by Outkast’s Andre “3000” Benjamin, making it the first album she released as a mother. As such, her femininity runs through the LP with a fierce yet understated quality, a characteristic found throughout her discography.

Erykah Badu was a Dallas native whose debut album, Baduizm, dropped in 1997 to commercial and critical success. It went triple-Platinum, earned Badu a Grammy for “Best R&B Album,” and served as a musical tribute to her heritage. Comparatively speaking, the lyrical themes found on Baduizm were far more eccentric and esoteric, whereas Mama’s Gun was more direct in its content. However, songs like “Orange Moon” continued Badu’s tradition of using metaphorical language perfectly, and the deeply soulful qualities of songs like “A.D. 2000″ and the Stephen Marley-assisted “Time’s a Wastin'” made it a much more mournful album than its follow-up, 2003’s Worldwide Underground. And yet, the album’s overall tone was far from funereal; the humorous qualities in songs like “…& On” and “Booty” contributed some levity to the album, which dealt with heavy topics like heartbreak, loss, and police brutality. The L.P.’s opener, “Penitentiary Philosophy,” is an anthem for the oppressed, whether the oppression is external or internal; throughout the album, Badu struggles with the expectations of the world around her but also those she’s placed on herself, until finally she grapples with what may be the strongest internal battle fought against what the world tells us we should be – the battle of envy. On “Green Eyes,” she shares with listeners her vulnerability in her repeated promises that she is in fact not green with envy over a lost lover’s new friend, and with is she reminds us that the “warrior princess” (as she calls herself on “Penitentiary Philosophy”) is but human.

In between the two are some of Soulquarians, James Poyser’s and J Dilla’s greatest works. Dilla and Badu earned themselves a Grammy nomination for the album’s second single, “Didn’t Cha Know” and all three worked on the album’s final single, “Cleva.” With Roy Ayers on the vibraphone, “Cleva” is for many the perfect encapsulation of Badu’s style and technique. With self-effacing lyrics about her dress costing “nothing but $7″ and how her “ninnies sag down low” if she doesn’t wear a bra, the song is a woman’s anthem without all of the rah-rah girl power found in most. It’s subdued yet triumphant, minimalist but layered with meaning, and soulfully jazzy.

Fifteen years later, Ms. Badu is gearing up to release But Yu Cain’t Use My Phone, buoyed by the surprisingly clever adaptation of Drake’s “Hotline Bling.” As per usual, Ms. Badu interpolates her own earmarks into his version masterfully, and by incorporating the most mainstream song imaginable, she once again reminds us of her creative talents without once sacrificing artistic integrity.

Related: Erykah Badu Makes Another Song About Phones & It’s Off The Hook (Audio)

Whereas speaking to Jadakiss or Styles P is often a lower key experience, their LOX band-mate Sheek Louch is high-energy. The Yonkers, New York veteran MC did not equate himself to one of the most ferocious members of the animal kingdom by being docile. In the Tommy Boy Entertainment conference room, the LOX/D-Block co-founder is animated. He laughs, he listens attentively, he speaks with the enthusiasm of a teenage B-Boy. And as he later admits, he’s in the shape, lyrically and physically to compete with the “young guys.”

On December 4, Louch will release Silverback Gorilla 2, the sequel to an album that established his versatility, and survival tactics as an independent label star. In speaking with Ambrosia For Heads, Sheek shows just how deep his love of Rap runs. Donnie G (as he is also known by) reveals attending M.O.P. concerts, the brotherly bond with Ghostface Killah, and how he watched a hometown hero take superstar flight in the 1990s. Few artists give their core audience exactly what they want as much as this 20-year vet. This tried and true MC is just doin’ his job.

Ambrosia For Heads: Sheek, what’s going on? How are you?

Sheek Louch: What’s poppin’, fam? I’m good—one day at a time, that’s it.

Ambrosia For Heads: I hear that. Well, yo, thank you for all that you do for Ambrosia For Heads. We are big fans of yours. I got to hear the album—nice stuff.

Sheek Louch: Thank you. Thank you so much. Thank ya’ll too, for real.

Ambrosia For Heads: Believe it or not, my favorite track on [Silverback Gorilla 2] might be the intro. I love it, because it covers your upbringing, and the track builds, the story builds and it takes [the listener] into the now. This is an important album in your career—I know they all are. But tell me a little bit about setting the tone–

Sheek Louch: — Yo, but could I stop you right there, real quick?

Ambrosia For Heads: Yeah.

Sheek Louch: Thank you for that, ’cause I love that intro too, man. I swear, man. ‘Cause I sat on that for so long. I said, “I need this right here for an intro.” But anyway, g’head, I’m sorry–

Ambrosia For Heads: No, no, no. I mean, ’cause I think you just said it: You needed it as an intro, and you’ve been sitting on it. Tell me a little bit about how you set the tone of the album with “Bunndy,” that moment.

Sheek Louch: Word. You know what it was, with this project what my thought process? I was tourin’ a whole lot—I been tourin’ like crazy. I’m on the road with The LOX [or] I run around with Ghostface [Killah] everywhere, so I be gettin’ tracks, like everywhere—all over. I’ll be in Australia [with] nothin’ to do, and go through my computer and just pull out these tracks, and write on the tour bus. My whole process was like basically, I’m payin’ attention to everything that’s goin’ on right now out here, as far as like the Dance records. I’m not knockin’ ’em, but you know, I wanted to bring it back to that gritty-type, more lyrical sound. I wanted to show growth as well, as far as my lyrics and everything. And production-wise, I wanted some real soulful sounds, and bring it back to that essence, man. And that’s just how I did it. I said, “I need an intro for this, I need a skit, I need something for the guys on the pull-up bars, workin’ out in the jail yard.” I just wanted to cover it all! Word.

Ambrosia For Heads: It’s interesting that you say you write a lot while touring, because I picture you writing in nice hotels, nice restaurants, and living an entertainer’s life. But what’s crazy about you is, for these last 20 years-plus, you’ve been authentic. You can make a song like “Hood N***a” [as a single], because that’s what people associate you with. Is it a challenge for you to change your writing environment and still come across so authentically?

Sheek Louch: I could tell you my first challenge—I don’t know if I ever told anybody this. My first challenge, as far as creatively writing, was when I made a song called “Good Love,” right? And that joint took off! The reason why it was challenging—it was a chick record, for me. I was like, “Man.” ‘Cause we come from talkin’ so gritty and dirty: drugs, and our surroundings, whatever what have you. I remember like Cosmic Kev, DJ S&S, or [some major DJ] was like, “Yo, you got a bullet.” ‘Cause I was kinda like, what they gonna say if I talk to the girls? They been tellin’ me to go at the women and all, but that was my [first true solo attempt]. Then, when I did, it was like Top 10 song on every station—some at #1. That was probably my only ever challenge, as far as writing. And it worked! Man, crazy big record for me.

Ambrosia For Heads: You mention “Good Love,” and I’m a Sheek fan since the ’90s. I love the hard stuff, I love the mixtape tracks, but “Good Love” is my favorite record of yours. [Laughs] I remember where I was when Cosmic Kev [broke] the record in Philly; I remember where I was driving when he dropped the track for Philly. That’s such an interesting record, it was on the first Silverback Gorilla. That’s maybe not your most famous record, it might not be your best selling, but you’re doing a sequel. Tell me why you chose that lane and that [album] to pick up on.

Sheek Louch: Man, ’cause I wanted to get beast-mode, 100%. Like I said earlier, [I was] paying attention to what was goin’ on around me. I wanted to bring it back to [the first Silverback Gorilla], not necessarily as far as sales, I just wanted that mentality of thinking. That’s where I was at.

And I’m glad I brought that up… when you see the gorilla, this and that, by no means is it [race-related]. That’s just my way of [expressing the ferocity]. ‘Cause some people [are saying], “What is he doing? He’s taking us back with this gorilla shit! The Black Panthers would be mad.” Nah, it’s my frame of thought—gorilla, beast shit. That’s what it is when I say that.

Ambrosia For Heads: Without a doubt. I love “Hood N***a,” and I love the fact that—not to make too much of features—but you put three other guys on this record. [They have] all been around, maybe with the exception of Joell [Ortiz] as long as you have, you all have endured. I love that, because you’ve [done that] through speaking to your audience, crossing over [at times], but you’ve never lost sight of who you are. It’s a record, but there’s so much more to it than that.

Sheek Louch: C’mon, M.O.P. Who’s not a fan of M.O.P.? I just saw them in concert not too long ago, and them bein’ on stage…first of all, I’m a fan, period—of this game, of this sport, of everything. But when I get a chance to work with Bill Danze or [Lil] Fame or anybody, and Trae Tha Truth—comin’ out of Texas, he’s killin’ it right now. And Joell [is somebody] who I just think is a monster MC, period. Salute to they whole crew and all, Slaughterhouse and all of them. To bring that about was a blessing, man. And I gotta say, none of ’em fronted; they [recorded their verses] immediately. They told us, “Yo, we’re fans of The LOX and yourself.” I was like, “Aw, thank you, bro.” And it came out beautifully.

Ambrosia For Heads: All four of you guys have a few different styles, but on that record, everybody put lyrics [first], and it shows.

Sheek Louch. I appreciate that bro, hell yeah.

Ambrosia For Heads: You mention touring with Ghost’, and you’ve got the record “I Love It.” I’ve spoken to him a few times, spoken to you a few times. Just talking to you guys, you’re very different personalities, but you both love Hip-Hop, and love your audience. Were you at all surprised over the last five years, coming into Wu-Block, on just how much you guys bonded on and off the mic?

Sheek Louch: You know what? Let me tell you: that’s my brother. People be like, “Yo man, y’all got the same energy when you’re around each other.” I’ma tell you how it started: we got the same management: Mike Caruso. I had got signed to Def Jam [Records] a while ago, and we went on tour. He had his own bus, I had mines, but we [bonded. Before that], he put all of us: me, [Jadakiss], and Styles [P] on all his [albums] back then, or we were trying to get him on ours. The whole Clan, the whole Wu-Tang, we love them dudes, man. But Ghost’ is just my big bro. That song, “I Love It,” came about [when] my man Shroom out the Netherlands sent me this crazy ass track, and I could hear Ghost’ just killin’ it. Man, you know every time you talk to Ghost’, he just sound like the records from back then. You know what I mean? Like, he really sounds like that old Wu-Tang shit when you talk—him and [Raekwon], they really sound like skits. So I said, “We gonna kill this. You gonna kill this.” We was in Mexico City last weekend, and I played it to him—crazy. He was like, “Aw man, this is it!” We shootin’ a video to it too.

Ambrosia For Heads: Earlier this year, I feel like Fridays became the biggest day of the week for music. I’m not gonna ask you any LOX questions, but even though there’s not any album, it seemed like you, Styles, and ‘Kiss, on Fridays, were just lighting it up with these freestyles and a la carte tracks. Was that an organized plan or did it just so happen?

Sheek Louch: It just happened. [It was not really] a plan, but I remember, Styles kept droppin’ a couple, then ‘Kiss got on deck, just droppin’ ’em every week. Then I just came, after, and just started leakin’ them joints out. Pretty soon, we had like hundreds of songs on Soundcloud and all over the place.

Recently, I just dropped a mixtape called Gorillaween, which everybody loved to death. I dropped it on Halloween. I took the Soundcloud joints and put like 12 new ones on there, to make it a feed-the-people [project]. You know what it is? We love the sport still. Yo, we ain’t gonna stop; I don’t see no reason to right now—especially if I’m spittin’ harder and better than all these young boys out here, I’m keep goin’. And we’re in the best shape of our life, man, listen…

Related: Redman Gets Real About Def Squad, Leaving Def Jam & Staying True To Self (Audio)

Ambrosia For Heads: You have a song on the album called “Legends.” In it, you talk about how the industry climate has changed. It was interesting, two weeks ago, I was listening to a Redman interview [with the Combat Jack Show]. He said that ultimately, what led him to leaving Def Jam was the fact that Def Jam put [albums by] you, him, and Ghost’ out in 2010, all within three weeks of each other, without much marketing. That was real, ’cause I remember that. I thought all three of you guys made really good albums that deserved more credit than that. It’s cool now to see you at Tommy Boy [Entertainment]; I know you’re a priority there. You’ve worked at a lot of different labels in your life, how important is it [regardless of label] to be treated as a priority, wherever you are?

Sheek Louch: I salute Redman for [saying] that, for even making that comment. You’ve gotta hold yourself a priority for anybody else to even think of you as one. It’s the same with workin’ hard: mothafuckas ain’t gonna work harder than you; you’ve got to show them that you’re ready to work, and that’s hard the label [or anybody else on your team will work]. If they see you layin’ around, your whole crew will be layin’ around.

As far as being [a priority] at a label, it feels good—it’s great, to me. I was tellin’ Brian [Delaney] and ’em over at Tommy Boy, I want to feel like we workin’ together—not y’all workin’ for me or none of that shit. I want it to feel like we working together at this shit. This interview right here, I’ma give you some info, some stuff that you can put it down, and we can make this whole article come out dope. I want always to feel like we are working together at something.

Ambrosia For Heads: Everything is a collaboration.

Sheek Louch: It has to be. ‘Cause you don’t want one person walkin’ away feelin’ a type of way. You can’t control that shit sometimes, but it’s better when y’all got the same understanding.

Ambrosia For Heads: And what’s interesting is that you’re like Lil Wayne in that you’ve built a career out of working with everybody in the industry, pretty much, at one point or another. So that attitude is, I am sure a big part of who you are, creatively.

Sheek Louch: It is, man. And all the people that I’ve been around, they seem to appreciate that—that frame of thought. Like, “Wow, thanks Louch. Thanks Sheek.” And you get more done—I don’t care if it’s your engineer behind the boards recording you while you’re doing your thing in the booth to anybody, word.

Ambrosia For Heads: I have but two more questions for you. Right now, on Ambrosia For Heads, we’ve been asking people, “What is the greatest album of all time?” Maybe there is no answer, but it gets people discussing, it gets people going back into their music [libraries]. Right now, we’re in the ’90s. In addition to Money, Power, Respect, you worked on two—maybe more than that—but two classic albums in the ’90s. I want to ask you about [DMX’s] It’s Dark And Hell Is Hot and [The Notorious B.I.G.’s] Life After Death.

Obviously, in that frame of mind [then], you’re a young guy in the industry. Did you grasp the magnitude of what you were working on at the time, in those recordings?

Sheek Louch: Honestly… alright, let me address it with [DMX]. At the time, we knew that he was gonna blow up and bubble like that, ’cause before y’all heard of him, he was a star in Yonkers, New York. He was always this guy, this O.G., that was sick. Everybody couldn’t wait for him to come around grab the mic. We knew he had that special talent. At the same time, I didn’t grasp it all the way, because we kind of knew of him. So y’all, y’all didn’t know him yet. So I kind of didn’t right then and there, but I knew it was something special, period.

‘Cause you know, before the Ruff Ryders, Dee and Wah [Dean] were our managers. They just managed these guys called The LOX, The Bomb Squad, The Warlocks, and all that back then. So we got the [Bad Boy Records] deal, and our managers got their own [Ruff Ryders] record deal, and they had this artist named DMX, you get what I’m sayin’? So were [recruited to be on It’s Dark And Hell Is Hot] as kind of like an in-house thing. That’s what I probably didn’t grasp the magnitude of it ’til later. I remember when Irv [Gotti] called me down there, like, “Yo, I need you to do a hook for this joint.” I just started jottin’ down [notes, like], “Yo, y’all niggas wanna be killas? Get at me dog. Y’all…” and I just wrote that hook, “Get At Me Dog.” After, I just started seeing it, slowly, [and started] realizing what was goin’ on.

Now Big? I was like, “Aw man, we gettin’ on this [Life After Death] album right here? Whew!” We couldn’t wait. It was crazy, ’cause [Bad Boy Records] was the Chicago Bulls [at the time]: [Michael] Jordan, [Scottie] Pippen, everybody over there. I remember, Big pulled up on us; we was at a club. He was like, “Yo, I just wrote my verse to this joint called ‘Last Day’, check this out; I need y’all to do y’all’s verses to this.” I was like, “Aw man, are you kiddin’ me?” [Laughs] C’mon.

Ambrosia For Heads: One follow-up to that, it’s funny: “Get At Me Dog” is my favorite record on It’s Dark And Hell Is Hot.

Sheek Louch: Get outta here! Are you serious?

Ambrosia For Heads: It just captures the void DMX was filling. I gotta ask you, ’cause the video was nuts, and I know that that video, like so many great videos in Hip-Hop history, was one that did not get aired properly. Knowing what that record meant to you, especially as a solist—

Sheek Louch: How’d that video go again? It was just real dark and [flashbulbs] on ’em, right?

Ambrosia For Heads: Yep, and I think that was part of the reason why MTV said they didn’t want to air it. Not only was it graphic, but [it was risky to] epileptics and all that. Were you disappointed when that happened? I know on radio, [“Get At Me Dog”] was goin’ nuts…

Sheek Louch: I wasn’t really disappointed, ’cause I think [the single] still came across. If they didn’t play it on the radio and all that, maybe I would’ve been pissed. ‘Cause I know I gave him a hot hook. That joint was crazy! The beat was just so classic.

Ambrosia For Heads: I gotta leave you asking you the very question that we’ve been asking all of our readers: In Sheek Louch’s opinion, what is the greatest Rap album of all time?

Sheek Louch: [Laughs] “Of all time,” c’mon, are we talking back to Run-D.M.C. and the Beastie Boys on up to now?

Ambrosia For Heads: Yeah. Yep, and I’m not asking you to speak for other people. Just in your perspective, maybe your life, to you as an MC, what’s the album?

Sheek Louch: Life After Death.

Ambrosia For Heads: Big.

Sheek Louch: No doubt.  I know it sounds real biased. Then, you know what I was gonna say? I was gonna say too. The Chronic [by Dr. Dre]. Aw man, ’cause there’s certain times in my life… like when certain shit happened. Like, I remember leaving work listening to Buckshot Shorty and the whole Boot Camp Clik [imitates drums]. Aw, man. Yeah, I’ma go with Big.

Ambrosia For Heads: You know what’s crazy about that album–we were just doing the research today. A lot of albums stop selling at a certain point, that album is a diamond album, and it reached that in the 2000s. It was released in ’97.

Sheek Louch: It’s [selling] probably, right now.

Ambrosia For Heads: And you’re part of that.

Sheek Louch: Gotta love it. Gotta! Yeah, no doubt! We’re part of that! [Laughs] Word.

Pre-order Silverback Gorilla 2 by Sheek Louch.

Related: Ghostface Killah Compares Himself To Martin Scorsese. Here’s Why (Food For Thought Interview)

One need not look far to witness the enduring influence Brand Nubian has had on Hip-Hop. It’s in today’s fashion trends, in all of today’s nods to the ’90s, and it’s most certainly in the music of today’s up and comers. The New Rochelle, New York group’s featured MCs, Grand Puba, Lord Jamar, and Sadat X (formerly Derek X), have since become icons in their respective solo rights, but their joint contributions to the group’s 1990 debut album continue to knock heavily in the music collections of Heads around the world. One for All is a fun-loving scholar’s album, one that preaches the importance of staying aware, not in a patronizing manner but rather a celebratory one, as Brand Nubian aimed to invite listeners on the educational journey along with them. In addition to contemporaries like Poor Righteous Teachers and X Clan, Brand Nubian represented many of the same fundamental beliefs as the Native Tongues Crew – love, peace, Afrocentricity – but in a more austere, straightforward manner (albeit with no shortage of sexually driven lyrics, either). With all three members full-fledged followers of the Nations of the Gods & Earth (also known as Five Percenters, a Harlem-based sect of the Nation of Islam), it was no secret that themes of racial justice, revolution, and war influenced them greatly, and their God-given enlightenment was to be something treasured. And yet, as exclusive and marginal as the Five Percent community is, Brand Nubian opted to title their debut after something universal – brotherhood.

Signed by the legendary A&R man and industry executive Dante Ross, Brand Nubian became a part of Elektra Records’ growing roster of progressive, alternative Hip-Hop acts like KMD and Leaders of the New School. Almost immediately upon One for All‘s release (December 4, 1990), any shock or fascination in the group’s Black-supremacist perspectives (“I’m out to squash the whitewashed brainwashed line of thought”) were quickly overshadowed by what really made the album an instant classic, and that was its relentlessly creative lyrical content and delivery. With most of the production work credited to the group, Skeff Anselm (of A Tribe Called Quest-shout out notoriety), Dave “Jam” Hall, and Stimulated Dummies also put in some serious work, helping to make a solid debut just a few months after having formed the trio.  And while many of the cuts delivered sobering lines (like Lord Jamar having “no tolerance for Black ignorance”), in whole the record is a jovial, fun-loving series of boasts, beginning with the opening track. “All for One” sports references to everybody from the Temptation’s David Ruffin to English popstar Engelbert Humperdinck (the latter actually gets two shout outs in separate songs, thanks to Grand Puba and Positive K), and enough braggadocio for the whole LP. The boasts continue in droves on “Ragtime,” “Step to the Rear,” and “Grand Puba, Positive, & L.G,” and are much more Grand Puba’s realm. And, while Grand Puba is certainly the voice most frequently heard on the album, plenty of fans feel that the album’s most important lyrics come from Lord Jamar and Derek/Sadat X, who are far more inclined to discuss things like culture, race, history, and religion.

Authenticity and self-love are championed on songs like “Feels So Good” (“A synthetic cosmetic, it was pathetic/If they was real, then yo she got the credit/But they wasn’t so she doesn’t/I like the natural look, so I kicked it to her cousin”) and “Slow Down” (ironically, the track is a plea for drug addicted women to love themselves more but is also one of the few places on the album where a woman is called a “bitch.” For many, some of the references to women on the album reside somewhere between disrespect and misogyny, with questionable phrases sprinkled throughout (for example, at the top of “Ragtime,” Grand Puba can be heard saying “Hit her! I mean, let’s hit this”) coupled with seemingly endless references to sexual conquests. However, One for All has some very serious conceptual tones in it, with “Brand Nubian” leading the way in terms of bringing forth an African-American history lesson through lyrics. It’s here where Lord Jamar offers up a definition behind the group’s name, as well as the knowledge of his own personal lineage.

History lessons also abound in cuts like “Concerto in X Minor,” where the headlining-making story of Huey Newton’s murder is mentioned in the same breath as the much lesser known story of Yusef Hawkins, a young African American boy killed by a mob of White people the very day after Newton’s murder. It is here, in this song’s lyrics where Brand Nubian’s real genius is exerted. In this particular example, the Five Percenter notion that they represent the 5% of the population who has been given true enlightenment (while 10% of the population is an elite group keeping the remaining 85% of the world in the dark) is expressed beautifully in the simple yet powerful decision to breathe the names Newton and Hawkins in the same bar. Five Percenters believe it is their duty to enlighten their fellow brothers and sisters, and “Concerto in X Minor” mirrors such an attempt. By rightfully deeming Hawkins’ murder to be just as tragic as Newton’s, the group is inviting its listeners to learn even more by piquing their curiosities with the mention of a (generally) unknown name. Furthermore, the song contains prescient reflections on society that could not ring more truly in today’s social climate. Included in the song is an interaction between police and a suspect, with the latter crying out “Yo why you pushin’ me? Why you hittin’ me, man?,” a line eerily similar to the final words spoken by victims of police brutality like Eric Garner and Oscar Grant, who pleaded for their lives while police forcefully attempted to subdue them. And, as Derek/Sadat X laments, “and black mothers need sons, not children that’s been killed by guns/It’s just another form of slavery, a modern day lynchin’.” That historical perspective is repeated in “Dance to My Ministry,” “Drop the Bomb,” and “Wake Up.”

After all of the swaggering bombast and cerebral content, the album closes with “Dedication,” which reminds listeners of why the album exists – Hip-Hop. It’s fitting, in a way, that so much time is spent discussing genesis of man and the millennia of human history throughout the album, only to finish it by referencing the (at the time) contemporary youth movement that was just beginning to show its first signs of becoming a global force. Indeed Hip-Hop, as with any art form, does not happen in a vacuum, and it feels quite perfect to close One for All by acknowledging the group’s present surroundings after all of the preceding retrospective. In “Dedication,” Grand Puba shouts out their comrades and peers like Big Daddy Kane, Kool G Rap, LL Cool J, MC Lyte, Queen Latifah, and Rakim in an effort to thank the previous generation of artists who allowed Brand Nubian to flourish. As Grand Puba raps, “What more could I say? I wouldn’t be here today if the old school didn’t pave the way.” And so now, a quarter century after Brand Nubian appeared, one can now see the path Grand Puba, Lord Jamar, and Sadat X paved. Today’s young artists who are seemingly embracing a ’90s renaissance through their music (such as Joey Badass, Bishop Nehru, and others) owe much to groups like Brand Nubian, some of the earliest purveyors of the ideas that run through massive cultural events like Afropunk Festival and the Black Lives Matter movement, where being proud of one’s Blackness, heritage, and history is celebrated by the thousands. But, most of all, the music is here to remind us that we are all in it together, and that it truly is one for all.

Related: This Might Be Grand Puba’s Best Song In 10 Years & It Resonates (Audio)

A decade ago, it could certainly have been argued that Lil Wayne had nowhere near the body of work to be considered one of the game’s best lyricists. However, 10 years after releasing Tha Carter II, he helped Billboard break the Internet after taking the 10th slot on the publication’s list of the greatest rappers of all time, a list infuriatingly (or thankfully, depending on the person) devoid of Tupac. At the time of the album’s release on December 6, 2005, few would have predicted the New Orleans’ MC would have such a meteoric rise to not only fame, but also to being considered as a lyrically adept artist. Arguably, the LP was the first time Weezy was taken seriously by many Heads, who had not exactly reacted to his first four albums with universal acclaim, and in the years since its release, he has become a ubiquitous presence in the world of Rap. The kid who first began as a nine-year-old signee to Cash Money Records and then graduated to become one of the Hot Boyz became a worldwide juggernaut in what felt like an example of overnight success, despite his solo debut (1999’s Tha Block Is Hot) going platinum. Generally speaking, his acclaim had not infiltrated the country on a nationwide basis, but his solid tenure as one of the South’s most celebrated representatives helped him climb onto the national stage, and with 2004’s Tha Carter, a diminutive Lil Wayne grew into Mr. Carter, a man who didn’t fully arrive until the following year.

One could have predicted Tha Carter II‘s more mature sound by judging a book by its cover alone. Its artwork, despite showing a shirtless Weezy nonchalantly posed alongside a Rolls Royce, is the most sophisticated of his albums’ artwork. From the choice in unassuming, fancy font (which originated with the album’s predecessor) to the black-and-white color scheme, it delivers an air of adulthood not echoed in previous covers, which featured bombastic elements like flames, jewelry, and aggressive poses. None of the projects released after would perform as well until Tha Carter III, which sold more than three times the amount of copies, a sucess bolstered by the release of a handful of mixtapes that helped Lil Wayne dominate the latter part of the decade. Musically, it was the first of his albums to lack production from Mannie Fresh, his longtime mentor and collaborator who had departed from the Cash Money family, ironically only months after scoring a top 20 hit for Lil Wayne with “Go D.J.” Whether or not Fresh’s departure from the team was a contributing factor in Lil Wayne taking the bold risks he did on the album is not certain, but it’s safe to say Tha Carter II helped Weezy spread his proverbial wings, and the result was an album relatively free of overly processed, radio-friendly Pop-Rap. The man on this album rapped like someone who was not at all doubtful of his forthcoming foray into superstardom; in fact, Lil Wayne’s performance on II is one of the most confidently delivered bodies of work from an artist who otherwise had not yet fully arrived.

Perhaps no review embodied the most prevalent reaction to the album’s quality more than Pitchfork’s. The longtime purveyor of opinions on music summed it up quite succinctly when writer Nick Sylvester wrote of Wayne’s progress since “Go D.J.”: “who knows what’s happened since then, but damn has he learned how to write.” Sylvester, like many others, credits much of Wayne’s growth spurt on the absence of Fresh, and he celebrates the “no-name nawlins producers [who] run the boards, their crackly soul sampling and that implied return-to-Rap roots a perfect complement to Weezy’s raspy, sometimes even Miles Davisian voice.” Most fans would agree – there was something more impassioned, more profound about the tone of this LP. The only signs of its being made with the hope of mainstream acclaim on the album are appearances from Robin Thicke – another dominating force in music at that time – and the one-off production from Cool & Dre. The other guest appearances, from Kurupt and Curren$y, did not carry the same oomph as did Tha Carter III‘s guestlist: Babyface, Busta Rhymes, Fabolous, Jay Z, T-Pain, and others. What Tha Carter III and subsequent studio efforts brought in collaborations, Tha Carter II had in exceptionally polished one-man shows, many lacking a catchy hook or any hook at all.

Enter: “Tha Mobb,” an album intro if there ever was one (“I’m here motherfucker, make room, boom”). With no hook, the opening cut is five minutes’ worth of bars and while Tha Carter also featured a hook-free intro, it was two minutes shorter and delivered with more angst whereas “Tha Mobb” lacks any hint of Wayne’s needing to prove anything. Next up is “Fly In,” mirrored by its closing sister track, “Fly Out,” whereas Tha Carter closed with “Walk Out,” suggesting Wayne had left the pedestrian and opted for the superheroesque form of travel. And, as if wanting to present the album in two acts, “Tha Carter” punctuates the album right in the middle, and is built upon the same beat as “Fly In” and “Fly Out,” certainly making the album a contender for the most conceptual of his career. Another carry over from Tha Carter are the “On tha Block” skits, numbers one and two, aspects missing from the third and fourth installments of the Carter series. Whereas the original “On tha Block #1″ lamented over the deaths of his “dawgs,” the 2005 version was an anecdote about Wayne’s growing prowess and the attention it was receiving from challengers. The first “On tha Block #2″ serves as a warning to potential victims of drug-related violence in the hood, with Tha Carter II’s serving as an extension featuring the same vocal actors. What sets Tha Carter II apart in this realm is that it features a third skit, yet another nod to his hometown-hero status, albeit this time featuring mention of his self-descriped “Pa,” Birdman. And, while the skits are the shortest cuts on the album, their inclusion indicates Wayne’s desire to carry on a tradition while also demonstrating his growth and departure from his former incarnation. Neither Carters III or IV feature skits, making II a more complete, thoughtfully executed album to many.

The album’s singles, “Fireman,” “Hustler Muzik,” and “Shooter” all performed moderately or less, with cuts like the Kurupt-assisted “Lock and Load,” “Money On My Mind,” and “Mo Fire” became instant favorites and could have easily been made singles. “Shooter” seemed to be the most acclaimed of the three, helping to introduce Robin Thicke to a Hip-Hop crowd (it worked both ways; the song also appeared on his 2006 album The Evolution of Robin Thicke), the same kind of crowd who appreciated sampling similar to Gang Starr’s “Mass Appeal.” Interestingly, the most “radio ready” tracks of the LP – “Grown Man” featuring Curren$y, “Receipt,” “I’m a Dboy” featuring Birdman, and “Feel Me”– were not selected, but nevertheless, the album and its selected promotion undoubtedly earned the seasoned yet underdeveloped MC a swath of new fans, many of whom remain loyal to him as he continues to navigate the tempestuous dissolving of his partnership with Birdman. As fans continue to wait for the highly anticipated (understatement) Tha Carter V, Lil Wayne’s trajectory from the 19-year-old who made songs with the likes of Lil Bow Wow and Lil Zane (remember “Hardball”?) to the artist of a generation responsible for more than 100-million records sold is a testament to tenacity and devotion. The Carter series could potentially become the longest in music history, and its fifth installment will represent – staggeringly – the twelfth solo studio album of his and the latest in his third decade as a recording artist. But all of those facts could prove to be merely conjecture, as V has yet to be given an official release date. Almost a year ago to today’s date, Wayne made a statement alluding to the album’s being held hostage, and a $51 million lawsuit against Birdman continues to embroil the situation.  If it ever arrives, V will represent a Lil Wayne in transition: completed with the tutelage of his longtime label and musical family, but the last one to do so, released after a very public family feud, and the continued legal and financial troubles related to the album could potentially knock the wind out of Weezy’s sails.

But, as he reminded us ten years ago, Lil Wayne is already a legend if he ever leaves.

Related: The Game Is To Be Told: A Celebration Of No Limit Records…By A Hater (Food for Thought)

This week began with the 2016 Grammy Award nominations. For Hip-Hop fans, this year’s noms included 11 in the direction of Kendrick Lamar, thanks to his March, 2015 album To Pimp A Butterfly. Two years removed from controversial wins by Macklemore & Ryan Lewis in the 2014 “Best Rap Song,” “Best Rap Album,” and “Best Rap Performance” categories, these nearly Michael Jackson-tying 11 nominations may appear to the public as an act of atonement. While Mack’ and Ryan’s “Thrift Shop” was an indie-to-mainstream juggernaut, Hip-Hop purists cried foul, especially as Kendrick Lamar and good kid, m.A.A.d city went home in January, 2014 empty-handed. Even winner Macklemore conceded that K-Dot’s album deserved the trophy, making the affair symbolic of the chasm between Hip-Hop at the corporate level and in the crowd of cultural stakeholders.

Almost reactive to the ’14 social media fall-out, the Grammy’s handed Kendrick Lamar two statues in 2015, for his single “i” featuring Ron Isley. The record had barely cracked the Top 40 (#39), as it bested a Drake a la carte single, and album highlights from Eminem, Nicki Minaj, Kanye West, Wiz Khalifa, along with Childish Gambino and Lecrae across two categories. While the honors of distinction were undoubtedly appreciated, they also felt a day late and a dollar short for one of Hip-Hop’s loudest, and most artful voices of change.

In 2016, it seems that the Grammy Awards may be trying to catch up to the rest of the world in terms of taste and authority. That’s nothing new. For all to see, the National Academy of Recording Arts and Sciences has unilaterally struggled with “judging” Hip-Hop. When the “Best Rap Performance” award was established in 1989, the voting committees sought out DJ Jazzy Jeff & The Fresh Prince talking about why “Parents Just Don’t Understand,” in lieu of messages about racial pride, unrest, or abstract art. A year later, Young MC’s dance-floor classic “Bust A Move” bested Public Enemy’s “Fight The Power,” presumably prompting the category to disappear until 2012.  In response, “Who gives a fuck about a Goddamn Grammy?” may be one of Flavor Flav’s most poignant quotes.

Twenty six years later, Flav’s clock may still know the time. While the reported 13,000 voting members padded the ballots with lots of opportunities for Kendrick and T.P.A.B., they also went to a new place. In the “Best Rap Performance” category, the nominating parties included Drake’s “Back To Back.” Decades after the Grammy Awards have stressed presenting the greater music committee with tapered, sterilized, and arguably “handle-bars” versions of Hip-Hop, they now opt to include a diss track.

Drake’s “Back To Back” was the TKO punch that finished a battle Meek Mill started and promoted. For Hip-Hop, the two-week summer affair was fun to watch. In addition to one of the great power-plays of the 2010s, Drizzy took a reply-diss record and kited it onto the charts, into the clubs, and the mainstream consciousness. Perceptively, Meek Mill wanted a bout and he got knocked out of his weight class. In doing so, Drake made fun of himself, and how one of Rap’s symbols of street-certified ruggedness “got bodied by a singin’ nigga.”

However, this is a curious move, right now. Drake is not the first MC to make a combative record hot. LL Cool J’s “Mama Said Knock You Out” was a Top 20 bell-ringer, especially for audiences that knew the Def Jam titan was finishing off his feud with Kool Moe Dee. Six years later, Uncle L heated up another chart appearance, care of “4, 3, 2, 1,” which not only featured disses, but was a Top 75 single that jabbed at its own song guest in Canibus. Dr. Dre can claim bringing a fiery diss record to the Top 10, care of 1992’s “Fuck Wit Dre Day (And Everybody’s Celebratin’).” From the opening bars, Dre and Snoop Dogg attacked Eazy-E, Tim Dog, and 2 Live Crew’s Luke Skyywalker. And in the Chronic video? The vitriol was “lit.”

Other songs have dominated the Hip-Hop space the way that “Back To Back” has for 2015. Ice Cube’s “No Vaseline” is a where-were-you-when audio moment that continues to live on, despite Straight Outta Compton biopic armistice and the death of Eazy. Five years later, Tupac Shakur’s “Hit ‘Em Up” was a B-side on multi-platinum single, “How Do You Want It?,” arguably thanks to the ruthlessly malicious attack on The Notorious B.I.G., Puff Daddy, Junior M.A.F.I.A., and Mobb Deep. Five years removed from that, Jay Z and Nas launched a crosstown grudge-match against each other—with records from both becoming major talking points in platinum albums. Whereas controversial albums by 50 Cent, Jay Z, 2Pac, Eminem, T.I., Rick Ross, and The Notorious B.I.G. have all been nominated, if not won the “Best Rap Album” category, never before has the academy embraced this in a category focused on singles.

In reprising the “Best Rap Performance” category, the Grammy’s have tried to hone in on message. This is why songs like Nas’ “Daughters,” Lecrae’s “All I Need Is You,” and this year’s  “Apparently,” by J. Cole, have been included. One could argue this is why K-Dot’s “i” stood so tall last year, in embracing a dire need for a Hip-Hop love movement, more than 15 years after A Tribe Called Quest’s own album nomination.

In the last few years, the Grammy’s have proven to be deeply out of touch with Hip-Hop, its culture, and resounding voice of the youth. In real-time, the academy is aiming to band-aid its mistakes. In a just-published interview with Complex, one Grammy executive, Bill Freimuth, Head of Awards, acknowledged a “push-back” from the Rap community since his 2004 arrival. He added that the academy has a special outreach program, with genres including Rap/Hip-Hop, prompting a 29% increase in 2016’s voting. Freimuth stated, “With approximately 13,000 voting members, I think we’re the only music awards that are voted on by peers. It’s the colleagues of the musicians themselves who were saying, hey, you’re the best. I think that’s appropriate.” In the same interview, the exec noted that Drake’s actual top-charting (#2) 2015 single, “Hotline Bling” was not the voter choice. “I think our members just didn’t foresee the incredible success that that song has had, and they focused instead on his other work.” While Drake’s label did not submit the July song to the academy, Freimuth claims it was perfectly eligible for voting.

Whereas the including of Fetty Wap’s “Trap Queen” acknowledges the Grammy’s moving into the Soundcloud era, and “Apparently” is a thoughtful and deeply-relevant inclusion, one could argue that Drake’s diss record takes a spot that should be appropriated to Big Sean and E-40’s “I Don’t Fuck With You,” which scored higher on the charts, from a #1 artist. The same could be argued for ILoveMakonnen (and Drake’s) “Tuesday,” or even Grammy-beloved Macklemore’s “Downtown” single featuring lyrical pioneers Grandmaster Caz, Kool Moe Dee, and Grandmaster Melle Mel. All three of these examples charted higher than Drake’s Meek Mill punch-out, and don’t carry the baggage of taking sides in a war of words or re-igniting the kind of vitriol that has led to real violence in Hip-Hop in the past.

The Grammy Awards have mattered, because they carry through the ages. It’s a stage that blends genre and generation equally, showing other audiences, subcultures, and new ears what the best and brightest sounds like. Drake has been that, and carries the trophies for “Best Rap Performance” (“Over”) and “Best Rap Album” (Take Care). “Back To Back” accomplished much more than a lyrical triumph, or a diss gone mainstream. In 2016 however, as Hip-Hop has delivered stylish, evocative, and spirited songs for the times, why are we suddenly celebrating one man tearing down another man, on a stage traditionally reserved simply for art. As the National Academy of Recording Arts and Sciences claws for voice in a culture that has never sought out validation from others, perhaps they want now want spectacle, not substance.

Related: Kendrick Lamar Leads 2016 Grammy Nominees With 11 Nominations. Will They Get It Right Now?

On December 12, 2000, Los Angeles, California-based MC Xzibit dropped his third album, one that arrived at a curious juncture in his musical and professional careers. Already considered a West Coast favorite thanks to the grassroots and Underground support of his sophomore effort 40 Dayz & 40 Nightz, the streets were ready for a strong follow-up, and fans were not disappointed. Restless featured big-body production from Dr. Dre, DJ Quik, Eminem, Rockwilder, Erick Sermon, and others and it stands today as his only platinum-selling album. By that measure, it represents the apex of his Rap career, but it came a full two years before his mainstream fame really took off. His 2003-2007 stint as host of MTV’s “Pimp My Ride” introduced him to audiences outside of Hip-Hop, and he became one of the most visible celebrities from the Rap world in popular culture of the mid aughts. And so, by that measure, Restless also marked the slowing pace in success he faced on the charts. Although 2002’s Man vs. Machine debuted in the #3 position, it was a relatively short stint and X to the Z struggled to reclaim the momentum he had achieved with Restless. Nevertheless, it is undoubtedly forever ingrained in the fabric and soundtrack of the new millennium, and 15 years later, it still knocks.

Restless was X’s re-introduction in many ways. After debuting with 1996’s At the Speed of Life, the Detroit, Michigan-to-Albuquerque, New Mexico-to-L.A. MC began enjoying the fruits of the labor as a result of the groundwork he was laying in the L.A. Rap scene, forming relationships with area legends like King T, DJ Muggs, and, most famously, Tha Alkaholiks. It wasn’t until Restless, however, that Xzibit was a cohort and collaborator of Dr. Dre, the undisputed king of Los Angeles Rap who had showcased X on his 1999 juggernaut, 2001 (on “Lolo,” “What’s the Difference,” and “Some L.A. Niggaz”). X fans already respected his skills as a lyricist and purveyor of the newest generation of street knowledge, but the Dr. Dre co-sign elevated him from Underground Hip-Hop standout to national recognition. However, he had always enjoyed a healthy international fan base, even from the very beginning of his career. His lead single, 1996’s “Paparazzi,” scored a meager #86 position on U.S. charts but in Germany, it was a smash hit, nearly cracking the Top 10 but resting at a very #11. Similarly, Restless’ “X” was the most successful of the album’s three singles, but it outperformed the U.S. all over Europe, shooting to number four amongst his German fans. That is not to say he didn’t enjoy his fair share of admiration from stateside fans; the album eventually made its way into the #12 position on the U.S. charts, and the album’s success played a huge role in X’s being invited to take part in Dr. Dre’s hugely successful Up In Smoke Tour, a West Coast mammoth of a tour that became a cultural phenom.

In addition to “X,” the branding anthem whose accompanying video featured cameos from West Coast legends Snoop Dogg as well as surprise appearances from Loud Records affiliates RZA and Method Man, Restless spawned the singles “Front 2 Back” and “Get Your Walk On.” The former was a monster amp-up lead single built atop Rockwilder’s East Coast sensibilities marching forcefully, a perfect match for X’s high-energy delivery. The latter was a distinctly Los Angeles affair, an homage to the Crip Walk akin to Kurupt’s 1998 album cut “C Walk.” Xzibit’s version was louder and less specific to the dance’s ties to gangs, and despite the video’s featuring X and others performing the dance, it is remembered outside of the realm of Gangsta Rap. In fact, the video includes a segment featuring the blue and red colors signifying the Crips & Bloods, the notorious rival street gangs who have made Los Angeles the infamous home of rag-warfare. In his including such an image, it’s clear the song was meant to appeal to a national audience, and is (intentionally or not) adulterated to reflect that sensibility. But don’t get it twisted…the co-production from Battlecat and Dre under-study Mel-Man is far from watered down, and still manages to elicit rousing responses on dance-floors. In all, the three singles anchoring Restless were clear markers of the era; big, loud, flashy, aggressive.

“Been a Long Time” featuring Nate Dogg provided some serious bounce to the LP, the Erick Sermon, J-Ro and Tash-assisted “Alkaholik” is one of the most celebrated cuts and would have been a single if it were not for the radio censors. While there were predictable – but nonetheless great – appearances from Eminem (“Don’t Approach Me”), Snoop Dogg (“D.N.A.”), DJ Quik and Suga Free (“Sorry I’m Away So Much”), and Dr. Dre (“U Know”), the album’s most overlooked cut is “Kenny Parker Show 2001,” featuring the one and only KRS-One and familial DJ. The Teacha provides a hook and some knowledge, but pairing of the two over a Dre knocker is a simple but powerful marriage of the forefather and the Prince, who KRS calls the “ultimate, underground rawness,” an accolade not to be taken lightly coming from such an iconic source.

Above all else, Xzibit stands tall as an integral figure in Rap’s mainstream appeal at the top of the first decade of the 21st century, and despite not having yet besting the sales of Restless, his fans know that true credit and real appreciation is often not reflected by the constraints of numbers and dollar signs. His contributions to the visibility of Rap into mainstream TV is not an accomplishment to be brushed over, and his continued adoration overseas and back home are indicative of the loyalty in the fan-base he’s been cultivating for two decades. After taking a hiatus from his solo career from 2006-2012, his recent reemergence on the scene has spurred talk of his 2016 return, and X may be poised for a strong comeback. He has reunited with Dr. Dre, appearing on Compton‘s “Loose Cannons,” and his mention of a solo album planned for next year during recent performances seem to confirm their reunion will play a role in his forthcoming eight solo effort. In the meantime, fans can hear his work with the Serial Killers, the trio he formed with Cypress Hill’s B-Real and Demrick, a longtime collaborator of X’s.

In the careers of great MCs, there is often a pinpointed moment when they pivot from underground to household name. Fresh off of transforming Eminem from a 12″ single sensation to a superstar with “Stan’s” in tow, Dr. Dre eyed up another Motown native. Xzibit had fashioned a respected career up to year 2000, dropping stellar freestyles, making lauded Loud Records albums, and running with King T, Defari, Phil Da Agony, and Lootpack as the loosely-defined Likwit Crew. However, Restless was the moment the well-kept secret (at least in the States) went viral. The raspy-voiced, beer-breathed MC with the wit, charm, and raucous delivery stood tall. Suddenly, Xzibit was somebody to the paparazzi. The back-packing MC made the album he likely fantasized of making, and in turn, blazed paved a lamp-lit road into the next 15 years. His career has been restless ever since.

Related: Take A Journey With The Serial Killers, Better Known As B-Real, Xzibit & Demrick (Video)

On December 4, Oakland, California MC G-Eazy released his sophomore album for RCA Records called When It’s Dark Out, and with it he continued the chart-topping success he found with his 2014 major label debut, These Things Happen. The 26 year-old has already worked with giants like E-40, Big Sean, Chris Brown, Keyshia Cole, and Too Short, but he is also a champion for the lesser known, grassroots artists like Gizzle, Jay Ant, and Cashmere Cat. With mixtapes dating back to his high-school days, the artist born Gerald Gillum has been putting in serious work for nearly a decade and began to enjoy considerable attention in 2011, when he released the mixtape The Endless Summer. A year later, fans received his independently released Must Be Nice, and it’s been a steady climb to acclaim for him ever since. With both These Things Happen and When It’s Dark Out debuting at number one on the U.S. Rap charts, he has become a leading voice in 2015’s rash of non-mainstream Hip-Hop juggernauts, also embodied by number-one albums from Logic and Lil Dicky this year. With a massive international tour set to kick off stateside on New Year’s Eve, G-Eazy is once again gearing up for worldwide dominance while still enjoying a relative low profile before his name recognition reaches the next plane. Before then, he spoke with Ambrosia for Heads about where he’s coming from, where he is now, and where he hopes to be.

Ambrosia for Heads: Oakland and much of California’s Bay Area has a rich history in Hip-Hop, and has always prided itself on being a place filled with original artists who aim to look and sound different. Do you feel pressure to carry on that tradition, or does it come naturally?

G-Eazy: The Bay Area is a weird kinda place. I don’t think there’s any other place in the world quite like it. We’re kind of a bubble, and we take pride in that, in being different. I think it’s just something that comes with the territory, I guess.

Ambrosia for Heads: What are some of the most influential musical movements from there that you feel are really a part of you and the rest of this generation of Hip-Hop artists from the area?

G-Eazy: Well the Hyphy movement was what I grew up on. That time period, 2004-2006 was when I was really coming of age and falling in love with music, so that was definitely the most influential era in my upbringing. So now, it’s a generation of kids who grew up on Hyphy, and now that we’re coming of age, it’s our chance to try and take that to the next level.

Ambrosia for Heads: The cover art for When It’s Dark Out is really striking. Could you talk about that the last two album titles (“These Things Happen When It’s Dark Out”) being emblazoned on your jacket and what you hoped to convey conceptually?

G-Eazy: Well that jacket has been like a second layer of skin, I never took it off. It was a staple of my wardrobe for a couple years and my good friend Reggie, who’s an artist, told me he really wanted to paint my jacket. So I gave it to him and told him the new album’s title was When It’s Dark Out and let him do his thing. I love what he did to it, and I just felt like it would be bold for the album art, you know what I mean, to have my back turned and just let the jacket be the cover of the album.

Ambrosia for Heads: The new album’s closing track, “Everything Will Be OK” is really personal, tragic song about loss. What gave you the courage to sing about the death of your mother’s partner and share such vulnerability?

G-Eazy: It’s a really honest song. It’s about channeling my demons and just opening up fully. It’s kind of dark, but it’s just…real. And that’s what this album was all about, just opening up and you know, going there. I just decided that it would be powerful to do the song.

Ambrosia for Heads: Are you looking forward to performing it live? It’s such a moving song, so are you nervous about sharing it with people in a live setting?

G-Eazy: Absolutely. It’s kind of a weird situation, honestly. I’m not really sure how I’m gonna play it. ‘Cause that song is going to end up being the biggest song on the album, not in a commercial sense, but just like…impacting people. I think that song and its message are gonna like, outgrow the rest of the album in a sense. But it’s one of those songs where I don’t even know if I can perform it live.

Ambrosia for Heads: To bring it back to the whole album in general, I wanted to touch upon the curating of guest artists this time around. You’ve got some pretty major artists on it, but also some who folks will likely be unfamiliar with. Can you speak to the importance of that kind of balance for you, between cohesiveness in sound and star power?

G-Eazy: Well cohesiveness of sound matters more to me than star power, like all the way. A great song can come from anybody. A great performance can come from anybody. It doesn’t matter who you are, and that’s truly what I believe. I mean, I’ve got friends of mine on the album who might not have a big following or whatever, but they make great music. I feel blessed to have the Chris Brown’s and the Big Sean’s, you know what I mean? But they’re on there ’cause they sound great on those songs. Just like my friends sound great on the songs they’re on, and that’s why they’re on the album. I just think great music is great music and it doesn’t matter who wrote it or where it came from. At the end of the day, I’m all about the cohesiveness of an album and how it plays from top to bottom and the sequencing and all that goes into it. You know, to me, that matters more than the list of people who are on it.

Ambrosia for Heads: Is creating a cohesive album something you already knew how to do, or was it something you learned along the way as your success grew?

G-Eazy: Nah, this is something I’ve always believed in. I’ve always been drawn to albums like [Dr. Dre’s] 2001, [A Tribe Called Quest’s] Midnight Marauders, [and Nas’] Illmatic that play top to bottom. I like to let it happen organically when it comes to my albums. I’ll figure out where I go from here, but in general I just believe in the idea of an album.

Ambrosia for Heads: It’s a dying art.

G-Eazy: [Laughs] It is a dying art. It’s bad. We’re the generation of Snapchat and our attention spans are so short they don’t allow us to actually sit down and listen to something from top to bottom but I guess I’m a dreamer. I believe in that.

Ambrosia for Heads: In the song “What If,” you ask a series of questions of the listener, including “what if the game didn’t care I was White? Would I still be selling out shows” What was your goal with this song?

G-Eazy: On that song I just wanted to pose a bunch of questions, make people think. Some of them are more obvious than others, some of them are more of a conversation than others.

Ambrosia for Heads: Have there been any lessons carried over into the recording and promotional process for When It’s Dark Out that you learned while working on These Things Happen?

G-Eazy: Just to push yourself. It’s not done until it’s done, so it can never hurt to just keep recording and keep recording. If you end up with too much music and you’re having trouble cutting it down, that’s usually a good problem.

When It’s Dark Out is available on iTunes.

Related: G-Eazy Shows Out On A BET 106 & Park Backroom Freestyle (Video)

Each and every year, there is no shortage of moments in time which crystallize the development of Hip-Hop’s growth, and 2015 is no different. Over the course of the previous 12 months, the culture played larger-than-life roles in film, health, politics, television, and of course, music history. Here are just a few of our favorites, in no particular order.

Kendrick Lamar’s To Pimp a Butterfly became the album of a generation: Without a doubt, Kendrick Lamar set a new bar for contemporary, mainstream Hip-Hop albums with the March release of To Pimp a Butterfly. ‘Tis the season for year-end lists, and Heads are sure to see the album named in most, if not all, 2015 music recaps. “Alright,” arguably the LP’s most influential single, was touted as a serious contender for a “modern day Black anthem” by a handful of outlets, and for good reason. In addition to its searingly poignant lyrics about issues such as police brutality, the song became the go-to chant for many rallies and protests over the year, including the one below in which marchers can be clearly heard singing “we gon’ be alright.” As a whole, To Pimp a Butterfly has been considered by many to be the Compton, California MC’s magnum opus, a transcendent piece of music that spawned a history-making 11 nominations from the Recording Academy, setting the stage for Hip-Hop to dominate the 2016 Grammy Awards ceremony early next year.

Jadakiss & Styles P made serious moves to make communities healthier: In late summer, a series of new juice bars opening up in New York neighborhoods started to earn considerable attraction. Juice bars are nothing new in the quickly gentrifying city, but the Juices for Life chain stood out because of two of its owners, rappers Jadakiss and Styles P. The Yonkers natives wanted to do something to address the access to healthy food in their community, and invested in juice bars. In so doing, they used Hip-Hop’s visibility to bring a very serious and often ignored issue to light, combining star power with tangible progress. Check out some behind-the-scenes footage featuring the two MCs below.

Straight Outta Compton redefined the canon of Hip-Hop cinema: As perhaps the most dominant Hip-Hop story of the summer, the N.W.A. biopic generated record-breaking numbers, out-earning any other music-based biopic in film history. Furthermore, it became the all-time highest-grossing film in the United States for a Black director, giving F. Gary Gray a permanent place in cinematic lore. And, while official announcements for next year’s Academy Awards ceremony have yet to be made, it is hard for Heads to imagine Straight Outta Compton not being nominated, despite the apparent snub from the Golden Globes. And, outside of the film’s financial successes, it also received nearly universal acclaim, with fans and critics both applauding the storytelling and the acting (particularly that of O’Shea Jackson, Jr., Ice Cube’s son). And, of course, Heads were treated to a seemingly endless cycle of N.W.A.-related promotions, including one particularly memorable interview between the film’s cast and Kendrick Lamar, which can be revisited below.

Chance the Rapper made SNL history with the help of Hip-Hop: Just this month, Chance the Rapper became the first independently signed artist to perform on the iconic sketch comedy show Saturday Night Live. While certainly not the first Rapper to hit the SNL stage, there is something powerful about the first indie artist coming from a Hip-Hop background. It speaks to the hard work and trailblazing attitude always associated with Hip-Hop culture, and add to that Chance being one of the foremost representatives of a younger generation of Heads, and the influence is undeniable. In fact, television in general had a very big Hip-Hop year, with Raury becoming the first artist to perform on Comedy Central’s The Nightly Show, Pusha T performing on The Daily Show, Kendrick Lamar as the last artist to perform on The Colbert Report and the first to perform on Colbert’s The Late Show (in addition to his rousing performance on Austin City Limits), and an appearance from Eminem in the least expected television show of the year.

Eminem and Stephen Colbert’s hilarious public-access television takeover: If there was a funniest Hip-Hop moment of the year list, this would take first, second, and third place. Earlier in the year, Stephen Colbert wrapped up his tenure as the host of Comedy Central’s The Colbert Report to fill the shoes of David Letterman as the host of CBS’ The Late Show. Along with the usual national ad campaign, the show also incorporated some seriously DIY tactics in creating buzz, and once again, Hip-Hop’s ability to engage target demographics was employed in the form of Colbert’s stint as host of a Monroe, Michigan local television program called Only in Monroe. Without any prior notice, publicity, or cryptic social media post, he appeared on set and brought in Michigan native Marshall Mathers as his special guest. As Eminem Heads already knew, the Detroit MC has a serious funny streak in him, and the two unlikely cohorts created a weird, quirky, and incredibly ridiculous moment in television. Re-watch it and thank us later.

Killer Mike x Bernie Sanders became one of the most Hip-Hop stories in politics: For many, it is hard to remember the biggest marriage of Hip-Hop and political campaigns since Diddy’s 2004 movement, “Vote or Die.” Of course, President Barack Obama is for many the Hip-Hop President, but this year, it was a story taking place outside of the White House that most powerfully showcased what happens when Hip-Hop’s influence is used in getting out a message to voters. As the presidential campaign continues to dominate national headlines, candidate Bernie Sanders has become the favored choice for millions, particularly young Americans. Rapper Killer Mike also became a very vocal supporter, putting his money where his mouth is and delivering a fiery speech for the Vermont senator at a campaign rally in Atlanta, Georgia. Shortly thereafter, the two released an hour-long conversation the two had about the most important social and political issues facing the country today. The pairing of these two outspoken Americans has left many Heads feeling the Bern.

J. Cole became the first artist in recent memory to go platinum with no features: Released last year, J. Cole’s 2014 Forest Hills Drive was a critical and commercial success, leading many to call it his best work yet. It spawned a hugely successful international tour and an HBO series documenting the travels, trials, and triumphs of the North Carolina MC and producer in the lead-up to his homecoming performance. Most noteworthy of its accolades, however, was the April announcement that the LP had received platinum status from the Recording Industry Association of America (RIAA), making it not only J. Cole’s first to sell more than one-million copies, but also the first time in recent memory that an album featuring no guest appearances earned the Platinum recognition from the RIAA. At the time of the story’s breaking, many outlets reported that no other artist had achieved platinum status without help from guest appearances in 25 years, while others pointed to LL Cool J’s 1988 album Radio as being the most recent to do so. Either way, 2014 Forest Hills Drive helped make Hip-Hop a ruling force on the charts in 2015. The album is also nominated for Best Rap Album at February’s Grammys.

D’Angelo & Bobby Seale had one of the most inspiring conversations of the year: In June, the New York Times ran a lengthy feature starring D’Angelo and Black Panther Party founding member Bobby Seale, and inter-generational look at race relations, American politics, and just all-around knowledge. The Black Messiah singer and historical icon were also captured on camera, but it’s the richly layered and no-holds-barred conversation in written form that made this a stand-out moment of 2015.

Yasiin Bey Reflected on the Paris attacks & brought it all home: The tragedy of the terrorist attacks in Paris in November spawned countless tributes from millions of people around the world, but the one which connected to Heads most directly could have been the one from Yasiin Bey (f/k/a Mos Def). The Brooklyn MC and practicing Muslim released a 20-minute audio statement in which he not only acknowledged the sadness of the attacks, but also drew a moving parallel to the death of Tamir Rice, a 12-year-old Cleveland, Ohio boy shot down by police last year. Listen below to one of 2015’s most touching Hip-Hop inspired reflections.

Black Lives Matter helped make a social movement a household name: There is likely no bigger domestic issue facing Americans in 2015 than the conversation about police brutality. The frequent deaths of Black Americans at the hands of law enforcement has become an ongoing statistic that has reverberated with such strength that it’s become a point of debate from presidential candidates, pundits, everyday citizens, and celebrities. In terms of Hip-Hop, the efforts of stars like J. Cole, Talib Kweli, Killer Mike, and others have made it an issue inextricably linked to much of the influence in today’s music, with many opting to address the idea that black lives matter through song. Although the driving tragedies behind the Black Lives Matter movement coming to the forefront of political and social discourse are incredibly sad and maddening, the Hip-Hop generation has much to be proud of for its powerful roles in representing a generation’s quest for justice and love. And, as Heads will likely never forget, Kendrick Lamar’s bold performance at the BET Awards brought some really powerful imagery that encapsulated the Black Lives Matter movement for a national audience.

As with any year before it, 2015 also brought its moments of great losses in Hip-Hop. In February, legendary Death Row Records founder Suge Knight was charged with murder and attempted murder after a fatal hit-and-run accident involving the vehicle he was driving claimed the life of Heavyweight Records co-founder and longtime friend of Knight’s, Terry Carter. Seriously injured was activist and filmmaker Cle Sloan. We share our deepest condolences with the families of Carter and Sloan and with Knight’s family, who are surely suffering throughout the ordeal, as well. Another great blow was dealt to music in 2015 when we lost the irreplaceable Sean Price. The longtime Brownsville, Brooklyn MC passed away in his sleep in August, and his giant presence is one that won’t easily be forgotten. While far from the only losses Hip-Hop has dealt with as a community, these incidents are indicative of the far-reaching ways in which the family of Hip-Hop has unified as one to help in the healing process.

As we begin to look towards 2016, we at Ambrosia for Heads continue to stand in awe of Hip-Hop’s enduring ability to challenge, inspire, and entertain us. What do you look forward to most next year?

Related: N.W.A. are 100 Miles & Runnin’…Into the Rock & Roll Hall of Fame

2015 watched a lot change in the music industry. Streaming culture kept Heads on the edge of their seats, as Hip-Hop superstars “pushed the button” on a whim. Reclusive legends released new product, while patient veterans made massive breakthroughs. No matter large or small, burgeoning or veteran, all artists seemed to put greater emphasis on the album. By that token alone, this year has been incredible for Hip-Hop music.

In honoring our tradition of counting off the yearly best, Ambrosia For Heads is proud to present our Top 15 albums of 2015, listed chronologically:

B4.Da.$$ by Joey Bada$$ (January 20, Pro Era/Cinematic/Relentless/Sony Red)

With the January release of his debut studio album, Joey Bada$$ managed to live up to the hype that he’d been amassing since the ripe old age of 17, when he dropped 1999, a mixtape that caught the attention of even the most old-school Heads. The Brooklyn, New York MC and flagship artist of the city’s Pro Era/Beast Coast movement demonstrably proved his lyrical capabilities on B4.DA.$$, a cleverly titled LP that also served as a reference to his strident pursuit of indie fame (as he says on the DJ Premier-produced “Paper Trail$,” “I won’t sign to no major, no wager”). While singles like “Big Dusty,” “No. 99,” and “Christ Conscious” were indicative of the dungeony Brooklyn progenitors like Black Moon and Smif-N-Wessun from whence Joey arose, it was in album cuts like “Hazeus View,” “Piece of Mind,” and “Paper Trail$” where Joey proved the album was a gift to fans who weren’t just casual listeners. And, with the beautiful video for “Like Me,” (featuring BJ the Chicago Kid) he presented a moving tribute to Michael Brown, Trayvon Martin, and others who died around Joey’s age in neighborhoods much like his own.

See: “Paper Trail$”

Dark Sky Paradise by Big Sean (February 24, G.O.O.D. Music/Def Jam)

Big Sean raised the stakes in a major way with his third studio album, Dark Sky Paradise. The Detroit, Michigan MC kept his wordplay and cocky demeanor in tact, but a more matured G.O.O.D. Music artist was also able to break new ground. While supplying the party-minded hits in “I Don’t Fuck With You” and “Play No Games,” he also added depth in the catchy “Blessings,” and the introspective “One Man Can Change The World.” Kanye West’s careful hand wove in some Trap-infused Chipmunk Soul in “All Your Fault.” Big Sean stepped away from peer comparisons, and into the next level of album making. Rewarded with a #1 on the charts, Sean made a hybrid of club, message, and young, wild, and free music. Sean Don leaves 2015 with much higher stock than he began, and has the album that shows his range, his mind, and his gift at making a totally cohesive product to which Heads can relate.

See: “One Man Can Change The World” featuring Kanye West & John Legend

Another Time by DJ EFN (March 3, Crazy Hood Productions)

Miami, Florida’s DJ EFN follows years of mixtapes and radio work with a blueprinted album, from front-to-back. Another Time recreates the curated chemistry of 1990s DJ albums by the likes of Funkmaster Flex, DJ Clue, and the Soundbombing series. The Crazy Hood founder created a place where Blu, Kam, and MC Eiht can wax poetics together on “South-West.” He established common grounds for Stalley and Scarface, as well as Troy Ave on DJ Premier production in “Who’s Crazy?” Indicative of the inclusions such as O.C., King T, Milk Dee, and Umar Bin Hassan, this is an album made by a true Hip-Hop Head. However, it deftly showed that the walls and categories used to separate MCs due to age, era, region, and style are self-inflicted. EFN is not only a master DJ, but an A&R living the dream when it came to his true breakthrough LP. From an era when collaborations were true opportunities to work with somebody, Another Time earns its name in the 2-0-1-5.

See: “Paradise” featuring Redman, Talib Kweli, & Wrekonize

To Pimp A Butterfly by Kendrick Lamar (March 16, TDE/Aftermath/Interscope)

Kendrick Lamar made one of the statement albums of 2015 in To Pimp A Butterfly. Following up his 2012 platinum major label debut (good kid, m.A.A.d. city), K-Dot dimmed the lights and made an insightful album that seemingly could not be skipped. While T.P.A.B. lacked the radio-aimed dynamite of its predecessor, it instead identified with the grassroots social activists in the streets. Songs like “Alright,” “Complexion (A Zulu Love),” and “Mortal Man” took on lives of their own, resonating with the tones, themes, and headlines of 2015 at large. Kendrick Lamar once again proved that he’s a poet, prosing what the world poses. This album was a heavy listen, and densely lyrical—but a raised bar in succinct album-making. With George Clinton, Ronald Isley, and the spirit of Tupac Shakur at the epicenter of Kendrick Lamar’s inspiration and album-making process, this electric circus was not only a lyrical trapeze act, but a fire-breathing commentary on race, sexuality, class, and manhood in 2015 America.

See: “Alright”

Mr. Wonderful by Action Bronson (March 23, Goliath/Vice/Atlantic)

Action Bronson’s major label, full-length debut was a far cry from his self-released Dr. Lecter nearly five years ago. Suddenly a digital star, the Queens, New Yorker embraced his psychedelic side, and made an album with wide-reaching sounds, and intricate production. The witty lyrics, big on detail, in-the-know references, and lush imagery remained. However, Bronson’s presentation gave way to more soul-bearing. Underneath the jokes, crudeness, and hyper-specific allusions, Bam Bam rapped about a curious childhood, the stresses of fame, and love gone terribly wrong. Songs like “Terry,” “Baby Blue,” and “Only In America” had considerable depth to their aesthetic. Moreover, Bronson masterfully applied his underground roots and mixtape strengths into an album that nodded to Rock & Roll, break-beats, and mash-up all at once. In the same year that would see him engaged in strong conflict with one of his sources of inspiration, the Vice star made an LP devoid of any comparisons, sun-bathing in his own originality.

See: “Baby Blue” featuring Chance The Rapper

The Good Fight by Oddisee (May 5, Mello Music Group)

More than 15 years into a career, Oddisee hit his stride in a major way in 2015. The Diamond District front man had made multiple acclaimed works in the past, but The Good Fight truly celebrated his relatable rapping, and themes as a complicated, complex creative. Songs like “That’s Love” were warm blankets in a cold year for humanity. “Book Covers” stepped out of genre, and tapped the Mello Music Group flagship artist into the spotlight—showing how he had as much in common with Bon Iver as he did J. Cole. Oddisee wrote and produced seemingly for himself and his own therapy, but made a product that spoke so strongly, and evocatively of an attitude, a feeling of marginalization, and a hope for tomorrow. The Good Fight is as reflective as any album released in 2015, and the gifted double-threat proved that regardless of what the charts may tell you, he is among the most consistent, versatile and original Hip-Hop musicians of the 2000s. (This album is available for full, free stream).

See: “Belong To The World”

At.Long.Last.A$AP by A$AP Rocky (May 26, A$AP Worldwide/Polo Grounds/RCA)

A$AP Rocky’s sophomore album was another drug-tinged journey into the psyche. The Harlem, New Yorker basked in the neon glow of feeling as a man apart, in his culture, in his newfound fame, and at times, in his faith. “Holy Ghost” was a sinister kneel at the alter of the Most High, while “Everyday” was Rocky’s own spin on Elton John’s “Someone Saved My Life Tonight.” The sonics of At.Long.Last… maintained the creative courage associated with the A$AP Mob front man. While Kanye West and Mark Ronson played key roles in the album, A$AP’s mentee Joe Fox proved to be a secret sauce in mastering the tone of a wavy, at times dreary look outside Rocky’s penthouse windows. Just as the mixtapes affirmed at the top of the decade, Rakim Mayers is incredible at taking Hip-Hop to new points of interest, and covering lots of real estate without ever losing his passport.

See: “Everyday” featuring Rod Stewart, Miguel, & Mark Ronson

The Growing Process by Dizzy Wright (May 26, Funk Volume)

Dizzy Wright has fast become Las Vegas, Nevada’s Hip-Hop hero. The independent stalwart has amassed a huge following, globally, through connecting with his audience in energy and in values. The Growing Process was just that however. The young MC not only made songs about self-medication and living the free life, he opened his mind up, and laced every musical hot-box with tons of game. “Can I Feel This Way” provided pungent in-the-moment reflections, that never sacrificed exceptional deliveries. Dizzy inhaled some Bone Thugs-N-Harmony vibes on the tandem “Regardless” and “Don’t Ever Forget,” with Layzie and Krayzie, respectively. “God Bless America” was among the year’s most evocative commentaries (and collaborations) as Wright held the line, alongside Tech N9ne and Big K.R.I.T. At a time when artists are categorized in fell swoops, the Funk Volume sensation proved he is many things, and regardless of whether he’s blowin’ smoke, spittin’ game, or ventin’ deep thoughts, he’s never not giving it his all.

See: “Higher Learning”

Yes! by Slum Village (June 16, Ne’Astra Music)

For longtime listeners of Slum Village, Yes! contained some earmarks reminiscent of the Detroit crew’s earliest works, namely Fantastic Vol. 2. From the “Fantastic” refrain on “Love Is,” a single featuring Bilal and Illa J to the vast majority of production coming from the group’s late founder, J Dilla, Yes! was equal parts nod to the past and focus on the future. The first heavily Dilla-inspired LP released under the group’s current manifestation (a duo featuring original member T3 and Young RJ), Yes! plays like a yesteryear version of Slum Village without feeling like it’s trying to do so. The Phife Dawg-assisted “Push It Along” and “We on the Go!!” with Frank Nitt and Black Milk sound fresh, and not just because they are produced by Young RJ and Black Milk, respectively. Even on the Dilla-produced “What We Have,” “Tear It Down,” and “Expressive,” the two manage to bring the classic sound into a new era with immaculate synergy. The De La Soul-steered “Right Back” is a brooding, slightly mournful beauty that triumphs for the underrated of the world, but the album’s real hero is the “Yes Yes Remix.” A joyous cut that begins with a J Dilla voiceover, it’s co-produced by Young RJ, which gives it a real sense of coming full circle.

See: “Expressive” featuring BJ The Chicago Kid, Illa J, & Rosewood

Professional Rapper by Lil Dicky (July 31, CMSN/David Burd Music)

Lil Dicky’s Professional Rapper took the Masta Ace/Prince Paul world on incredibly detailed concept, and applied to it the world of a suburban Philadelphia, Pennsylvania native’s Hip-Hop immersion. David Burd’s studio debut shows that he can absolutely, unequivocally, rap his ass off. Dicky’s flows and timing were otherworldly, while his self-deprecation, humor, and ability to tap into pop culture amazed. “$ave Dat Money,” featured Rich Homie Quan and Fetty Wap) was tongue-in-cheek, but worked as a single with a subversive message. “White Crime” was hashtag play white-boy Gangsta Rap. However, unlike gimmicky plays of the past (from rappers and beyond), Dicky injected comedy, but never wavered in his sincerity. Professional Rapper really is an artist trying to get on, without lying, or compromising his narrative. The album pulled across the genre for key, role-playing guests, but Dicky never relied on names or profile. Instead, the MC creates his own sideshow, and pokes fun at himself, the industry, and preconceived notions about rappers, but all along the way really wants his skills, imagination, and truest self to be the calling card.

See: “Professional Rapper” featuring Snoop Dogg

Compton by Dr. Dre (August 7, Aftermath/Interscope)

Sixteen years later, Dr. Dre followed up 2001. It was a sneak attack of sorts, but Compton was a key companion to Dre’s N.W.A. biopic, and attention to his musical genius. While the album was a unique trajectory from the last two solo albums, it still showed that D-R-E had a keen ear for new talent, and had hardly lost his ability to bust meaningful raps into the microphone. Andre Young created a hearty revue of talent that dealt with the same issues Dre music always had: street life. “One Shot One Kill” was chest-pounding Gangsta Rap, as “Loose Cannons” was a warning shot to the testers. Along the way, Dre invited an ensemble cast of producers, MCs, and singers to achieve what may be the Compton, California mogul’s greatest gift: cohesion. Songs like “All In A Day’s Work” and “Deep Water” found Dr. Dre playing with the new sounds and styles of today, without kneeling to the level. Compton had changed a lot since the mid-1980s, but Dr. Dre helped put it on the musical map then, and he was the statue in the center of Hub City now.

See: “Issues” featuring Ice Cube, Anderson .Paak, & Dem Jointz

90059 by Jay Rock (September 11, TDE)

Jay Rock’s sophomore album, 90059, was 4 years in the making, but the wait yielded the best work of the TDE OG’s career. Much had changed since 2011’s Follow Me Home, including the rise of his label mates Kendrick Lamar, Ab-Soul and ScHoolboy Q, but Rock’s figurative voice remained uniquely his own. As had always been the case, on the new LP, he made music for himself and for his people, particularly those in his native city of Watts. Songs like “Money Trees Deuce” and “Gumbo” continued his tradition of keeping it 100, when it came to weaving narratives of life in the streets. However, always one to provide cautionary tales, rather than glorify, Rock added an element of inspiration that had not been as prevalent before. He sought not only to acknowledge, but to inspire. A major divergence from his past work was how he used his physical voice. The raw power remained, but he took on radically different deliveries than before, as evidenced on tracks like “Easy Bake” and “90059.” And, while he had help from his now formidable crew, on songs like “Easy Bake,” “Wanna Ride,” and “Vice City,” it was unquestionably Jay Rock who carried the project from front to back.

See: “Money Trees Deuce”

GO:OD AM by Mac Miller (September 18, REmember/Warner Bros.)

Few artists on his level, seem to evolve as much between albums as Mac Miller. Two LPs removed from being a figurehead in the early 2010s indie-digital movement, Miller went from a fresh-faced trouble-maker to a psychedelicized troubled artist in 2013. For GO:OD AM, it was a stripped down approach. As Mac Miller transcended from teen star to abstract MC, he seemingly found a style (as rapper and producer) that was all his own. This LP, his first without Rostrum, would build upon that earnestly. Songs like “Break The Law” showcased wordplay, while “Jump” put flow on first. Mac could be unconventional, but play with a sound that was perhaps more accessible to the clubs. The sounds, flows, and attributes of each song may change drastically in listening to the third LP from the Most Dope front man, but the lucidity, and sense of theme have awakened from an artist who truly makes every release an opportunity to step away from the last.

See: “Brand Name”

The Documentary 2.5 by Game (October 16, Blood Money/eOne)

Game released his Documentary sequel as a two-part, two-week process. While both independent works were crowd pleasers, the second of the two soared especially. The Documentary 2.5 was an uncompromising ride back in Compton, with Game not posing for photos, but showing listeners the grim realities of the city he reignited 11 years ago. “Gang Bang Anyway” brought in Black Hippy’s Ab-Soul and ScHoolboy Q for a rugged psychology of today’s rag wearers. “Up On The Wall” pocketed some 1980s New Wave Funk, with a celebration of the old Cali vibes set against the new SoCal behaviors. “Crenshaw/80s and Cocaine” was a funky drive, with a heart full of pride and waistband full of steel. “Last Time You Seen” brought in Scarface for a chilly breakdown of all that was lost in Hip-Hop and humanity the fateful 1996 night when Tupac Shakur died. The Documentary 2.5 was an overflowing cup of spirited raps, grabbing beats, and everything that’s made The Game such an entertaining, prime source of style in Rap. Jayceon Taylor offered two of his finest albums in one month, as The Documentary joins the ranks of the most important Rap franchises.

See: “Quik’s Groove” featuring DJ Quik, Sevyn Streeter, & Micah

The Incredible True Story by Logic (November 13, Visionary Music Group/Def Jam)

For those who were not familiar with Logic’s extensive mixtape catalog, there may have been an anticipation of a sophomore slump, after the critical and commercial success of his debut album, Under Pressure. Instead, Logic won by doing more of the same, but better. His formula on The Incredible True Story contained the same elements of masterful rapping, insightful lyrics and stellar, sonically cohesive beats. Despite the futuristic theme of the album, much of The Incredible True Story consisted of Logic reflecting on his past and present in order to look forward. “Fade Away” was a direct response to his critics who saw him as a one-hit wonder in the making. “Young Jesus” was an ode to the raw lyricism Logic always favored, as influenced by giants like Big Pun. “Innermission” was sonically and thematically inspired by legends like A Tribe Called Quest and Nas, who placed as much emphasis on their cadences as the music that accompanied them. Throughout the album, however, the consistent thread was Logic’s overarching desire to be in the game not for one or two albums, but for the long term. The Incredible True Story was another stone in what is proving to be a strong foundation.

See: “Young Jesus” featuring Big Lenbo

Honorable Mentions:

Memoirs Of Dayne Jordan (Free Album) by Dayne Jordan (July 21, JTown Music)

DJ Jazzy Jeff’s latest protege, Dayne Jordan released an incredible, honest, and accessible debut album in Memoirs Of Dayne Jordan. The North Philadelphia, Pennsylvania MC gave his work away for free (a critical practice used by Big K.R.I.T., Run The Jewels, and Rapsody), which made it something for everybody, and absolutely something worth supporting. (The whole album is available for free stream and download).

See: “In Progress”

Words Paint Pictures (EP) by Rapper Big Pooh & Apollo Brown (March 24, Mello Music Group)

Albeit just a nine-song EP, Rapper Big Pooh’s first of two 2015 releases may be his finest work since Sleepers. The Virginia native teamed with Apollo Brown to make a grabbing and soulful commentary, as rich and pointed as any in his celebrated career. (The whole EP is available for free, full stream).

See: “Stop”

This is our Top 15 (with two additional notable considerations). What does your list look like?

Related: Ambrosia For Heads Presents…14 Best Hip-Hop Albums Of 2014

In large part, 2015 was a difficult year to make sense of. Around the world, there were major acts of violence, hatred, and reminders that injustice and systematic prejudice lurk in every corner. Approaching an election year, the discourse in the United States often felt polarized, with across-the-aisle messages vitriolic. With that, in the streets, the world found answers. The populist reaction to the complicated world in 2015 was a glimmer of hope. People across color lines, gender lines, and language barriers came together to stand up against oppression.

In Hip-Hop, Kendrick Lamar could not have forecast the remaining 3/4 of 2015 when he released To Pimp A Butterfly in mid-March. The Compton, California MC’s fourth studio album (and second in the major label system) seemed to resonate so strongly with what was on the minds and in the hearts of the masses. Like Bob Dylan in the 1960s or Marvin Gaye in the 1970s, K-Dot took an air of strife and made intricate, kaleidoscopic art. But then, as the dust settled on the next nine months—Kendrick Lamar Duckworth unassumingly and valiantly walked it just as he talked it. One of the culture’s crowned lyricists and #1 album makers used his latest long-player to remind the world about love, courage, and solidarity.

Related: Kendrick Lamar Ends 2015 With 1 Of The Most Emotionally Raw & Visually Stunning Videos

At a time when “Black Lives Matter” chants echoed through the main streets, suburban malls, and Times Squares of America, Kendrick Lamar gave Black folks a reminder to feel proud, and at the forefront of popular culture. T.P.A.B. preview single “King Kunta” did not concern itself with making all audiences feel included in Hip-Hop’s party. Instead, Kendrick rhymed exclusively from the perspective of being a Black Man in America “taking no losses.” The record ostracized those who did not believe in the pre-fame man, or talent of the Hub City luminary:

“Straight from the bottom, this the belly of the beast
From a peasant to a prince to a motherfuckin’ king”

First single “i” had much of the same sentiment. In a chaotic world, Kendrick Lamar stressed the human foundation of self-love. The record, released in 2014, was packing ammunition for the year ahead. Regardless of race, gender, creed, etc., Kendrick wanted humanity to thrive, and not let evil win:

“The sky can fall down, the wind can cry now
The strong in me, I still smile”

Somewhere between the two narratives, “Alright” was the anthem. The song’s chorus offered hope to the people, and let the oppressors know that they will not win. However, the record was more specific than that. The same year that Freddie Gray and Sandra Bland would inexplicably die in police custody, and Tamir Rice’s killer would not face conviction, Lamar blatantly acknowledged the institutional hate. In 2015, he would tell The Guardian “I am Trayvon Martin,” and claimed that if he were to have a son, he too, would be the slain Florida teen—whose killer walked without serving time. Later in the year, penning a letter for XXL magazine, Kendrick opened up further, showing that he lived the storylines of Black Lives Matter. “From Trayvon Martin, to Eric Garner to Michael Brown and issues of police brutality and racism and for so many other reasons. All of it has really struck a nerve with me because when you experience things like that personally and you know the type of hardships and pain that it brings first-hand, it builds a certain rage in you. It brings back memories of when I’m 16 and the police come kicking the door in. They don’t care that I’m a little boy and they [stomped] me in my back two times and they dragged me out the house and have us all handcuffed.” He told The New York Times, just over a week ago, that “Alright” had magnitude before it ever left the studio. “[It is a] simple phrase: We gon’ be alright. It’s a chant of hope and feeling. I credit that to Pharrell, for being able to present an arrangement and to inspire me to do a record like that. Immediately, I knew the potential.”

“When you know, we been hurt, been down before, nigga
When my pride was low, lookin’ at the world like, “where do we go, nigga?”
And we hate Popo’, wanna kill us dead in the street for sure, nigga
I’m at the preacher’s door
My knees gettin’ weak and my gun might blow but we gon’ be alright”

In 2013, Kendrick Lamar garnered his largest fame from a shelved feature verse on Big Sean’s “Control.” There, K-Dot was portrayed as a combative MC, dissing his peers in the interest of reviving Hip-Hop’s spirit of competition. While the attention surely appeared welcomed in Hip-Hop, is that really what Kendrick has meant to listeners since Overly Dedicated? Instead of the chippiness or trouble-maker persona painted by some media outlets two years ago, To Pimp A Butterfly allowed no other takeaways of the artist than somebody who had great insight into the times, aimed to restore Hip-Hop’s sense within chaos, desired to be a voice for the perceived voiceless. On an album so overtly attached to Tupac Shakur (as well as Parliament-Funkadelic and The Isley Brothers), Kendrick Lamar knew how to revive dangerously accurate, unafraid lyrics that not only resounded with people of color, but reached the hearts and minds of all people.

Related: Kendrick Lamar Watches Vintage Tupac Shakur Footage & Reflects On His Idol (Video)

In the same late 2015 XXL letter, Kendrick Lamar spoke about just how powerful he believes his path is. “I know I’m chosen. I know I’m a favorite. I know in my heart there’s a whole other energy and leadership side of me that I have probably run from my whole life.” Perhaps this explained the direction of T.P.A.B. “When you are a voice for the youth, nothing can stop you. The youth is what changes things. Can I lead that? Should I? I get confused because people are championing me to be that vocal point and it’s a challenge for me to be that because I have some fear of that type of power. This goes back to me being who I naturally am or who think that I am now, that 28-year-old kid that’s kind’ve a recluse. But 28 is old enough for me to figure out who I am and have that power at the same time.” Already older than Tupac Shakur was when he died, Kendrick Lamar knows the gravity of his message, and his time on earth as “mortal man.” Rather than try to reach the charts, clubs, and arenas, the TDE flagship artist has chosen to be the voice of the streets—whether street kids, or street rallies.

Related: A New Kendrick Lamar-Inspired Scholarship Hopes to Send Kids to College with Your Help (Video)

At a time when the party (and its music) was a welcomed distraction for many of us, Kendrick Lamar wagered a platinum career on depth and substance. To Pimp A Butterfly was not unanimously loved. The album notably generated criticism by some media outlets months after its release. Not once did Kendrick ever succumb to justifying his art. Without its “Swimming Pools” or “Bitch, Don’t Kill My Vibe,” K-Dot was invested in making sure his stardom used its platform for sociological storytelling on “How Much A Dollar Cost?,” the inner-conflicts of “Institutionalized,” or stressing the attractive power of pigment in “Complexion (A Zulu Love).” In the end, substance prevailed. The National Academy of Recording Arts and Sciences, the organization responsible for the Grammy Awards and who seemingly snubbed Kendrick two years ago, rewarded the MC’s artistic courage, with 11 nominations surrounding his T.P.A.B. work.

Perhaps more validating though, in the streets of America, the record quite literally became the hopeful soundtrack to protest and change:

There was also great encouragement in the fact that Kendrick Lamar did not just let his music do the hard work. Upon learning his latest music was being used in a high school curriculum, one of the biggest Hip-Hop stars in the world went right to the Bergen, New Jersey students to interact. He went back to his hometown of Compton, as well, fully embracing his new status as a role model. “It’s still a work in progress. Perfect example: Going out to the [Compton Christmas Parade, where he served as grand marshal] and seeing these kids’ eyes light up. I’m looking at them like, man, I was one of y’all before. The more I get to see it visually and hear their words, the more it helps me aspire to inspire. Every time I think about that, it gets me out of my own selfish ways. It’s not just for me. It’s for these kids out here that hang on to these words. They’re more dependent on me saying the next thing and seeing my face than I’m consumed with being an introvert,” he told The New York Times. The Golden State would also recognize Kendrick’s intentions and merits. He received the Generational Icon Award from the state. The MC who rapped about what he’d do if he was in the White House (and boldly portrayed himself with the homies in front of the storied venue on the T.P.A.B. album cover) received the accolade on the California Senate floor.

Related: Kendrick Lamar Interviews N.W.A. & Asks All The Right Questions (Video)

In an era when Hip-Hop stars liked being the teachers, Kendrick Lamar spent 2015 as a student. As Straight Outta Compton cinematically portrayed the lineage of music in Compton, Kendrick Lamar gained access to N.W.A., to ask the questions. It was not the passing of the torch as much as it was a reinforcement of the values and courage to represent a city, and a culture through uncompromising lyrics and attitudes. The same was true when K-Dot interviewed Quincy Jones, another cultural luminary of an earlier time. The world is used to loquacious Rap stars with lots of opinions, but Kendrick Lamar made listening, asking questions, and processing information cool. If rappers could be role models without posturing, Kendrick Lamar did so, even in his more understated moments.

In 2015, “shit hit the fan.” Kendrick Lamar gave the Hip-Hop culture reason to still be a fan. With his star burning bright, the MC made one of the boldest, most experimental Rap albums in years, with the People in mind. To Pimp A Butterfly bet it all, on not what the fans wanted, but what they (and the times) needed. In step with his art, Kendrick Lamar never wavered. He was committed to his causes and out to leave a mark on our minds.

Related: Men Of The Year: How Killer Mike & J. Cole Represented Hip-Hop Honorably In 2014 (Food For Thought)

DJ Premier tells Ambrosia For Heads the story about the night he, D’Angelo, Alchemist and J. Dilla gathered in the studio and took what would become an iconic photo. These are his words about the photo, that night, and the other supremely talented men with whom he posed:

“Gang Starr Moment Of Truth was out. We were feeling a real good way ’cause Guru had just won his trial. He was facing five years in prison, and he won the trial, which is why we named the album Moment Of Truth and had the court room setting as the theme of the album cover. He didn’t know if he was gonna beat the case or have to go to jail once the album was released. His lawyer—who actually [since] passed away, God bless him—told [Guru], ‘If you lose, the album’s still gonna be out while you’re in prison, so we need to promote it as much as possible the best we can in case you do go to jail. So that was a pivotal moment of him winning the case, and our first gold album—that was our first gold [Gang Starr] album, ever in our career.

Then Belly came out, at the same time that I did [‘Devil’s Pie’] with D’Angelo. I remember [then Def Jam Records CEO] Lyor Cohen asked us if we could put it in the movie. They showed us the scene that they wanted it to be in. It ended up being in the movie as well, which got us another check and more exposure for the record. The record actually happened because…it was originally Canibus. We had worked on the song at my studio, D&D [Studios] at the time. It didn’t pan out to do the record. Once Canibus left, that same maybe hour later, D’Angelo just called me out of the blue. Like, ‘Hey, what are you up to?’ I’m like, ‘Yo, I’m just ending a session. I was working on a beat for Canibus, but we’re not using it.’ He said, ‘Can I hear it?’ I said yeah. He said, ‘Well, come over here to Electric Lady [Studios]. I’m over here just bangin’ out my album.’ So I went over there. I already knew D’Angelo from when his first album, Brown Sugar came out. We were [Virgin/EMI Records] label-mates. We knew each other through mutual people. So we were already cool with each other.

So I went over to Electric Lady, played him the beat. He immediately just screamed, ‘Whooooooo! Oh my—yo! Let me do somethin’ to it! I’ll come over [to Electric Lady Studios] tomorrow!’ That whole night, before I came back to cut the vocals with him, he wanted to film me scratchin’ on the turntables so he’d have it for the archive footage. So we were just runnin’ the beat. I guess he has the footage. His engineer, [Russell “Dragon” Elevado] may have it. Dragon is in the picture too—in the background, the Asian guy. I just remember they were filming for almost a half hour, nonstop, of just me goin’ off, doing crazy things with his D’Angelo 12″ records that we had there, in the room. I was just finding little things to bug out on just to show him—I was freestyling everything. I did that for maybe a half hour, just to show me scratch.

The next thing you knew, the next day, when I got there, I had Alchemist with me. We had just got done touring together for The Smokin’ Grooves Tour, which was with Public Enemy, Cypress Hill, Busta Rhymes and the Flipmode Squad, the Black Eyed Peas—who were a brand new group that nobody even heard of. They had a small band and they were doin’ all these dance moves. They were nothing like they are now; Fergie wasn’t in the group yet. Mya was on the tour. Wyclef [Jean] and Pras was on the tour. Canibus was on the tour with us. Literally, right after is when we did the record. Everything’s all love with me and ‘Bis anyway, ’cause we did a record [‘Golden Terra Of Rap’] after that. It was a massive tour. I told Al—he liked to smoke, I liked to smoke, ‘We’re gonna go over there and blaze up, so bring some of that Cali’ good.’ [Laughs] He was like, ‘Yeah, I’ll roll wit’chu.’ So when he came over, Questlove was just finishing up doing drums to ‘Untitled (How Does It Feel?)’—the one where he was naked in the video. He was there. Raphael Saadiq had just left. And J Dilla was there at the session.

Al was in the loop with the Dilla stage, so he could lamp with us and smoke for a lil’ bit. We just hung out. I knew him for a long time as well. So we were just buggin’ out and smokin’, and whatnot. I forgot the guy who took the picture. But I know somebody ran into me last year, and was like, ‘Hey man, I know the guy that took that picture.’ I said, ‘Tell him I want an original copy of it. Because I always wondered what happened with that picture because I never had a copy. Back then, it wasn’t email or text messaging a pic on the phone. We weren’t even at that stage in ’98. The [copy] I got has a lil’ splotch on it. If you Google it, it has a lil’ splotch. I want the clear copy. If he wants me to pay for it, everything’s negotiable. Whoever that guy was that took it captured an incredible moment. Hey, we’ll give you your credit. That was a great moment.

On the third day is when Lyor Cohen said, ‘Hey, we want to put it in Belly.’ First D’Angelo said, ‘No. We want to save it just for the album.’ Then I saw Belly; they showed us the film. I was like, ‘You know what? I think it’d be dope—especially where they put it [in the film]. They were showin’ the drugs, how that applies to what he meant [by] ‘Everybody wants a slice of devil’s pie’ in the lyrics. I remember there’s part where he mumbles, and said, ‘Yo, I’ma leave it like that. I didn’t know what to put there.’ But whenever it came on in the clubs or around women—’cause I always gauge certain records that have a groove to it based on how women react–I said, ‘Alright, I guess we got a banger.’ [Laughs] That actually [resulted] in my second Grammy that I earned. Jay Z’s [Vol 2. Hard Knock Life] album, which I was on, I got a Grammy for that one. I got one for Voodoo, ’cause I was one of the producers on there besides D’Angelo and his team that produced a record on the album. And Voodoo was just a dope album anyway.

I met Dilla through Q-Tip years ago—back when [A Tribe Called Quest] was doing Midnight Marauders. We met then. I think Large Professor was with me. It was just one of those days where…we used to just all be around each other. Me, Large, Pete [Rock], Q-Tip as well—we’ve clearly each got bugged out memories. I got stuff that’s crazy! [Laughs] But we all got memories. We were all very active and high on the level of popularity during that era. Tribe was big, Gang Starr was big, Pete Rock & C.L. Smooth was big, Main Source was big. And then all of us as producers, we were all poppin’. Aside from our groups, we were all getting a lot of work doing a lot of remixes and production. Me and all of us…and Dilla were already doin’ [production work outside of our groups]. As the years passed, Dilla got even crazier styles. His styles went a whole different direction.

His approach to sampling was not like any other. I know Madlib is an extension of what we miss about Dilla. But Dilla formed his own crazy world of samplin’ that I never heard from anybody. Nobody was doin’ it like Dilla. And no one [has since]. The closest thing is Madlib, and I know they had the kind of relationship where I know Dilla rubbed off on him, to a certain degree, to carry that torch, so to speak.

DJs and producers, we’re scientists. So we really dissect where we place things. You look at The Bomb Squad in all of those Public Enemy productions. You look at where they placed stuff. Marley Marl, where he placed stuff. We would know what it is. ‘Yo, he took such-and-such and where he put it!’ Dilla was just the most upside down—the man without eyes who could still hit his target. He’s crazy, man! Nobody placed the stuff like he did. He just did it in a really, really strange way—and I like strange. [Chuckles] The weirder you are the better I like it.

He was playing the drums when I was in the session with D’Angelo. But we all play drums. That’s the way I mix the bass and drums the way I do with my beats when I do Hip-Hop. Yeah, there was a nice drum kit that was set up at Electric Lady. When I got there, Dilla was on the drums. Quest’ had just laid the drums to ‘Untitled,’ and he had to leave. So Dilla was on the drums, bangin’ out. The one thing I do remember [about what we were listening to] is…I’m a big Prince fan. I know Prince as much as Prince knows himself. I go back to the For You album, all the way to what he’s doing now. And I met Prince, with D’Angelo. He told me he was a Gang Starr fan. I introduced myself; Treach from Naughty By Nature was standing right there with me in the back room at Tramps, which no longer exists. That was a club that used to have a lot of Hip-Hop [at a time] when there were really no performances in New York, in Midtown. Prince was back there, and Treach from Naughty By Nature was standing there. I walked right there said, ‘Oh my God, this is Prince!’ He was like, ‘Yo, I just want to let you know that I’m a big Gang Starr fan.’ I was just like, ‘…what? Fuck.’  But me being a Prince fanatic, owning all of his imported records, B-sides, all the collections, all of his [Paisley Park] umbrella…I remember D’Angelo had the 1999 picture of the whole Revolution, which was—and they weren’t called The Revolution to us yet. If you look at the 1999 album, it says “Prince and The Revolution” on the one, in the middle, real small. [D’Angelo’s recording studio room at Electric Lady] had the Venetian blinds, The Isley Brothers album cover in the room, Parliament, Sly & The Family Stone, and of course [Jimi] Hendrix everywhere. He left those up. He said that was his inspiration to lay it all out when he was recording.

This was way before [J Dilla] got sick. He didn’t tell people. Again, we already had a relationship prior to D’Angelo; we were already cool. So it wasn’t, ‘Hey, it’s so nice to meet you. Let me hear some of your stuff,’ it was, ‘Hey, what up, my nigga?’ Alchemist was the new guy. ‘Cause I told him to come with me, [D’Angelo] was like, ‘Yeah, yeah. Bring him.’ I brought him.

[D’Angelo] played me ‘One mo’Gin.’ Once I heard that—I didn’t need anything else—I was like, ”Yo, whatever else you got on that album, it doesn’t even matter. [Chuckles] It’s gon’ bang. I was just a big fan of ‘One Mo’Gin’. He played me maybe three songs, ’cause he’s very meticulous about playing stuff [before] it’s done—we’re all like that, really. We always feel like you’re gonna judge it before it’s done and not understand what stage it’s at unless you are an artist. If you’re an artist—a true purist like we are, you’re gonna get it, even if it’s rough. He played me maybe five joints. But he would always give me the disclaimer, ‘Okay, this one’s gonna be this right now. It’s not gonna have this, it’s not gonna have that.’ But it didn’t matter to me; I knew how to gauge a rough song that’s not finished versus a finished song. The labels and A&Rs and execs all go, ‘Hey, bring in these guys. You can bring in this guy to finish this.’ It’s like, ‘Yo. It’s not done yet. Let me finish it before you start commenting.’ D’Angelo would say what records he wanted to roll with. No one told us what to do. It made it easier for them to do the marketing and promotion because we knew what would work as far as what would make the records really big.

[I did not know that Alchemist would reach] the stage that he’s at now. He was already playin’ beats on the tour bus. We would hang all the time on the Cypress Hill bus, on the Gang Starr bus. We were all on each others bus, ’cause we also had M.O.P. and Freddie Foxxx, and Big Shug. All the Gang Starr Foundation, they were all on tour with us. We just hung like a family, man. If there was any drama in a town, we like, ‘Yo, we ridin’ together. We fightin’? We all jumpin’ in. Whatever goes down, we all together.’ We protected each other and never had any problems.

[That photograph] will carry major effects for the rest of our lives. Dilla’s not here, physically. His music will always speak to us like he is physically here. To have [known] him prior to his being sick and puttin’ the memory of that session together, that’s my screensaver at the studio. It penetrates every time it comes on. Even when I turn off my computer, before it goes black, I always say, ‘Peace out, Dilla.’ And I take my hand and fist-bump his face to salute him before it goes black. It’s a little spiritual thing that I do. Honestly, I can’t turn away from that because that’s energy he still possesses in my life and everybody else’s.”

DJ Premier is performing at this year’s Dilla Weekend, celebrating the fallen MC, DJ and Producer. The Miami, Florida event will take place the weekend of February 5-7, and will be hosted by Dilla’s mother, Maureen “Ma Dukes” Yancey. With Slum Village, Royce Da 5’9″, Rapsody & 9th Wonder, Bun B, Blu & Exile, Pro Era, Diamond D, AG, A-F-R-O, and Mr. Green already as confirmed guests, and more announcements coming. For tickets to the all-star weekend visit the event’s site here. Preemo said the following about what to expect from his set:

“I actually made a beat the week he passed away that I did to imitate him. M.O.P. used it on their [Foundation] album. It’s called ‘What I Wanna Be.’ I chopped it—not intending for M.O.P. to use [it] but I just wanted to make the beat to say, ‘Hey, this is how Dilla would do it.’ I’m gonna open the [Dilla Weekend] show with that beat, and then I’ll explain, after I introduce myself. It’s chopped into all these weird places. It’s almost like, ‘Damn, I can see you chopped it. But where’d you grab it to make it loop around like that?’ That’s how I’ma start my show.”

DJ Premier also named his favorite Dilla beats. Perhaps some of these classics will creep into his set, as well:

“Players”
“Body Movin'”
“E=MC2”
“WorkinOnIt”
“Drop”
“Runnin'”
“Love”
“Love Jones”
“One For Ghost”

DJ Premier’s website, PremierWuzHere offers official Preemo and Gang Starr merchandise, news, and more information.

Related: DJ Premier, Slum Village, Royce Da 5’9″, Rapsody & 9th Wonder To Perform At 2016 J Dilla Weekend

Today (January 25), Clarksville, Tennessee MC Tim Gent is releasing his latest project. For The Love is a free effort by the impressive sensation, who balances precise lyricism with the trends of today. Already with individual videos reaching beyond 30,000 plays, the 22 year-old not only shows promise for putting his city on the Rap map, but making lasting impact on Hip-Hop.

In celebration of his just-released For The Love, Tim spoke to Ambrosia For Heads about his new project (and its relation to his son, and life stage), his city, and his gratitude to Kanye West’s influence.

“For the Love really stemmed from the birth of my son The artwork has a ‘The Creation of Adam’ [by Michelangelo] type of vibe,” Tim explains. “I thank God for blessing me with my son; so it’s me paying homage to Michelangelo and praising God all in one picture. As far the the content, I felt like with my last project (Clarksville Nights) I focused more on creating songs as opposed to just having a blast rapping. This project is really me getting back to just having fun and doing this for the reason I started.”

Speaking to the Kanye West influence heard in songs like For The Love track “My Predictions,” Tim responded. “I feel like Kanye [West] inspired this culture in crazy ways man. I grew up listening to nothing but Gospel music, R&B, Lil Wayne, Gucci Mane, and Kanye. I have all of Kanye’s albums and [other works], so sometimes I just feel like I have to show dude some love and pay homage.” With a laugh, he admitted a wish list future plan. “I’d definitely love to throw on a G.O.O.D. Music jersey one day.”

“Rising Son” is another talking point from the EP. “The beat is fucking nuts, man,” Tim professed enthusiastically. “Free P produced that, and I can’t recall the sample. But when I played it after he sent it to me, I immediately starting writing to it. It’s definitely one of my favorite collaborations between the two of us. Even if you don’t like what I’m saying, I feel like the beat alone keeps you indulged.”

In 2015, Tim released a la carte track “Additional Charges.” The song is a strong display of Gent’s lyricism. “Shout to RmurBeats for that one though, man. He put that instrumental up on [his] Soundcloud, and I shot him a text and let him know I had an idea. I did a little freestyle to come up w the first few bars and after that everything just flowed as far as the pen and pad goes. I definitely had to cut in [while recording] a few times.”

“I love my family,” declared Tim, who frequently mentions his family in his songs—including his son, and his mother. “They’re a huge part of everything I do. From the support, to the love, they just keep me inspired and grounded man. Moms definitely keeps ‘Timothy’ in check too, often.”

In Tim Gent’s visuals, Clarksville is prominent. For a city not often thought of for its Hip-Hop community, the hungry MC has bigger plans aligned with his own trajectory. “Honestly, I would let them know the city needs more recreational programs and centers for not only the kids, but the young adults. There’s so much talent here amongst the people but sometimes it feels like the opportunities are slim. All the locals I’m cool with or meet always tell me I have to leave in order to see any real success. [What they tell me] makes sense, but Clarksville is apart of me. It’s where I was born and raised. I love it here. I always feel like the underdog. God’s will, I’m going to elevate to a point where I can financially make some things shake for my community.”

Follow Tim Gent on Twitter.

Related: Ambrosia For Heads Spotlight Features

Pharoahe Monch is – without an iota of doubt – one of music’s most indelibly unique voices. Sonically and technically there is no other like him, and yet his influence lives within countless MCs who’ve come after him. As a solo artist he continues to excite fans with his boomerang flow; regardless of how complex or unpredictable, his technique always manages to come back to where it began, as a genesis for thought-provoking inspiration. 2014’s PTSD: Post Traumatic  Stress Disorder continues to push the boundaries as the Queens MC gears up to perform the album in its entirety with a full brass band and string orchestra, and in an insightful conversation with Ambrosia for Heads, he opens up about newer and more ambitious boundaries to be tested in the coming year as well as some of the past’s most resounding moments.

Ambrosia for Heads: Thank you for taking the time out to speak with us.

Pharoahe Monch: No problem, you’ll have to excuse my voice. It’s hoarse from the show I did.

Ambrosia for Heads: Not to worry, it’s just a sign of your devotion.

Pharoahe Monch: I’m up, I’m awake, I just sound like this right now. [laughs]

Ambrosia for Heads: Well thanks again; let’s just dive right in. October will mark the 25th anniversary of Organized Konfusion’s debut album. Commonly referred to as a cult classic, do you think it would still be considered that way were it released today? Have things like social media and trending topics made the concept of an “underground” or “cult” following obsolete?

Pharoahe Monch: I think it can still happen but in a different way. I think you would have to push towards stretching the art in a different way today to really get people to embrace something passionately and it be given those type of accolades but yet still not on a massive level. I think it really depends on the artist and their approach, which is a little different now that you have the internet. It applies, but I think art produces a cult-type following every once in a while, anyway. So I would say yes, I think it’s still possible.

Ambrosia for Heads: It does seem that the internet provides avid followers of a particular movement the space to follow their interests together without making the movement inauthentic, much like the success of Bernie Sanders’ political campaign. There are some parallels there, in terms of how music works today.

Pharoahe Monch: I totally agree. It’s still about someone speaking in a way or presenting different art or different ideas that in a way connects with you as an individual and applies to your outlook. But then you find out “Hey, I’m not alone in this just because the idea approach is different from the norm.” And so once you amass a great amount of people to feel that way, it creates that following. You become endearing – art becomes endearing – because it connects with people in a way that the general population probably wouldn’t get because status quo isn’t presenting that art or message in that way.

Ambrosia for Heads: All of these years later, do you think your life experiences would alter the way you would approach recording a debut project if you were walking into the studio today?

Pharoahe Monch: No way. Not at all. I think what causes that is, you know, you have to pay attention to the time of course – with anything you discuss. I think it was very important for us to try and break new ground and find our place and our voice and apply what we were familiar with. [Prince Po and I] both went to art school and one of the first things we learned as an artist is about working to try and find your own voice. As well as, you know, the people we were inspired by and the records we were digging through the crates for. These people – James Brown, Stevie [Wonder], Jazz musicians – had already had 15, 20, 25 year careers at the point we were digging. That made me say as an artist “I want the same things.” And by incorporating their style into your music, you’re not thinking about just the present, but thinking about five years later, ten years later. So, from the gate, I saw [the album] as a landscape to build something that would last and have some depth to it because that’s what I found when I studied what made other music last. At the time, Hip-Hop was more of an in-the-moment thing that people were denying as lasting as a culture or music form. Back then, you know, it was called a passing fad. But the first album, I just saw it as something I wanted to have a long shelf life and even be timeless. I would still do that today.

Ambrosia for Heads: Back in December, you lit up Dr. Dre’s “Pharmacy” Beats 1 radio show with an incredible freestyle that makes it no surprise he shouted you out as one of his favorite MCs. The chemistry is clearly there, but you have yet to work together in the studio in any formal sense. Should that ever come to fruition, is it safe to say there’s already a prescription for how a Pharoahe/Dre collab would go down?

Pharoahe Monch: It remains to be seen. Dre is obviously the pinnacle of all of what we say in conversations about trying to make music that will last and cut through and have layers to it. And he’s just so passionate about music, obviously, and the beautiful thing about him is making it translate into something that people love and have success in the music industry, which is rare. To get that shoutout is still an incredible nod. He said once he was taken aback by how my voice remains hungry after all of this time. I don’t think he meant in a sense of eager or boastful, just kind of new and youthful in the comfort and the passion. It’s because I really, really, really after all of these years love the music and the art of MCing. And making records and applying what I’ve learned. I don’t really touch songs unless there’s something about it that can bring that out in me. ‘Cause thats really all I have to share with my fans. I pride myself on trying to place that vibe on all the stuff I do. So Dre asked me for someting for the show, and I thought ‘I think this is pretty on point’ in terms of the aggressiveness and the Rock edge of the track. He was really feelin’ it and I was like, “that’s terrific!” [laughs]

Related: Pharoahe Monch’s Pharmacy Freestyle Shows Why He’s One Of Dr. Dre’s Favorite MCs (Audio)

Ambrosia for Heads: This month marks the 10th anniversary of J Dilla’s death. Do you have any memories of him that continue to resonate with you after all of these years?

Pharoahe Monch: Obviously for Dilla, it’s the being full of Funk, Soul…it’s the timing, and his passion and his work ethic. His spending hours and hours and hours working on music is something that I think is known by his fans now and around the world. What still boggles my brain and makes me just smile when I think about him is the uncanniness to try some of the things he would try and some of the samples he would try. It’s still inspiring when you hear that, it’s something that touches your heart and makes your feet move. You have to dare to dig in those areas. You have to dare to hear what you can pull from an orchestra or something that somebody else wouldn’t find a vibe in. That’s what Hip-Hop is about to me – stretching out in uncharted territories and creating vibes and feelings. And for me, as soon as you hear his stuff…it’s funny you mention him. I was just listening to some Dilla stuff my friend posted on Instagram so it was only like an 8-second loop and I was still in the bed in the hotel like jamming out to it and dancing. [laughs]

Ambrosia for Heads: Organized Konfusion’s “Stray Bullet” is a record that has showed its magnitude and influence recently. From the concept to the ricochet flow, there exists a lot of that record in Kendrick Lamar, J Cole, Locksmith and Slaughterhouse. Do you think its relevance and influence have changed or even heightened over the last 22 years?

Pharoahe Monch: I think it’s along the same lines today. You know, when you talk about flow and content and how long ago that was and, you know, trying to touch upon what flows aren’t people doing right now. [The song is about] giving life to an inanimate object, if you gave it a voice what would it say? How would it feel about how it’s being used and when mistakes happen? So, I think it could be written from the same perspective now. You know, what would a gun have to say about legislation and war? It’s just limitless, those type of topics and content. Again, we were trying to think ahead and out-of-the box on that record for it to have shelf life, to have music people who would still listen to years later and still have something to extract from it art-wise or skill-wise. All those artists you named that do that is what Hip-Hop has always been to me. It’s always been MCs pushing the envelope to push your competition and your peers to get better at the art or better at finding their voice. These [artists you mentioned] are people who do that effortlessly. Going back to “Stray Bullet,” we wanted the arrangement to be different, you know. We were going past 16 bars. Back then we knew that there was a structure for the masses, and if you break those rules, there’s a consequence. But we still did it, ya know. The story of this bullet is more important than the rules and we hoped people would gravitate to that, and they did.

Ambrosia for Heads: With 2016 well under way, what do Heads have to look forward to from you?

Pharoahe Monch: In the immediate, I am performing at the Kaufman Music Center [in New York City February 4] with [PitchBlak Brass Band] and we also have strings. That should be amazing . I tour extensively again in March in Europe. Currently I’m so, so, so heavily in the studio working on a new project. I don’t have a title for it but I’m like 75% through it and it’s the hardest, heaviest, hardcore…I mean it’s really heavy, man. It’s a heavy Rock-minded project and it’s something I’ve been wanting to do for at least 10 years now. The first thing you hear when listening to the stuf is the confidence and the comfort with me in this space, ’cause its something I’ve been dying to do. Rock is like one of the genres that really influenced me and I have a real affinity and love for it. It’s coming out insane so far.

Related: Right As Pharoahe Monch Readies P.T.S.D., Prince Po Releases A Video With Organized Konfusion & O.C. (Video)

On Sunday, January 31, Ambrosia for Heads hosted a live-streaming conversation with Royce Da 5’9, the celebrated Detroit MC whose work as a solo artist, a member of Slaughterhouse, and a member of PRhyme makes him one of the busiest and most in-demand performers in the game. With a headlining performance during J Dilla Weekend in Miami February 5-7, the fellow Motor City native will join DJ Premier, Slum Village, Black Thought, Bun B, Rapsody, 9th Wonder, and many others including the just-announced Pete Rock (see below) as the Hip-Hop community celebrates the life and legacy of J Dilla, 10 years after his passing.

As such, Royce shared his reflections on the late producer with us and fans tuning in, thanks to Facebook’s new “Live” capabilities. With questions taken directly from comments left by viewers, the conversation with Royce touched upon a wide range of topics, many of which were driven by the audience, adding a unique and multi-faceted characteristic to the interview. From Royce’s work with Dilla, why he was so universally loved, what his influence was and continues to be, and much more, it is a conversation laden with love and respect.

To begin, Royce takes a few moments to share what Dilla meant to him, particularly as an inspiration in the Detroit music scene. “He was, like, one of the guys in Detroit that we looked up to growing up…just so talented…he definitely wasn’t one of those guys who, after his unfortunate passing, that people finally caught on to. They knew it when he was alive.” Taking it back to 1995, Royce is asked about how it felt to have someone from Detroit – J Dilla – representing the city so remarkably through his work on Pharcyde’s Labcabincalifornia, released around the same time Royce himself entered the game. “We were all rootin’ for him. I don’t really remember a time when there were Dilla haters, and Detroit is kind of a hub for that sometimes, it’s like kind of a hub for for negativity sometimes. A lot of the negativity that comes out of my city gets paid attention to. But with Dilla, man. Everybody loved Dilla.”

Related: Black Thought & J.Period Are Performing A Live J Dilla Mixtape At Dilla Weekend (Audio)

When asked about his experience working with Dilla on 2000’s “Let’s Grow,” a cut from the Lyricist Lounge 2 compilation, Royce’s memories are still clearly palpable. “That was the only song we did together that came out. But we did plenty of other songs. We did like, four or five others songs. I went over to his crib and recorded for like, a whole weekend. Actually, Common was there up in the living room while I was downstairs in the basement recording. That was like, real cool. My first meeting him. Legendary.” Even Dilla’s process in the lab is something that has clearly left a mark on Royce. He says Dilla’s most outstanding quality in the studio was “just letting you do what you do. He had a lot of input during the mix process, which I think is really smart. When you’re working with an artist, you’re going in with an empty canvas where everything is blank and you just kinda let the artist get all of the thoughts out…once he came in, his presence in the mix just brought everything together. From the drops, the song structure, taking this out and adding that, he was just a genius at that.” What made him different from others, he says, was his uncanny ability to hear things others couldn’t. “Sonically, he was just able to achieve a sound that I never think I really heard. I’ve heard it imitated. I don’t think I’ve quite heard it duplicated.”

Fan questions include whether it’s true Royce gave out his phone number to people (“Yeah…I don’t see what’s wrong with that, man”), at which point he proceeds to call one of his fans (5:29); who his greatest influences in Hip-Hop are (“I’ll forever be influenced by Jay Z”, “King Los really inspires me lyrically”); whether there will be another PRhyme album in the future (“Definitely”), and much more.

Related: Ball So Hard: DJ Premier & Royce Da 5’9″ Score The Theme Song To NBA Countdown (Video)

After the ascendance of greats like DJ Premier, Pete Rock and Q-Tip in the 90s. There was a new wave of producers that would come to prominence in the 2000s who would carry the torch for Hip-Hop and take it in new directions. This new generation of beatmakers included the likes of Madlib, Kanye West, Just Blaze and J Dilla. Another one of these well-respected track masters was North Carolina’s 9th Wonder, whose warm and soulful records combined with hard boom-bap drums made the Little Brother trio of Phonte, Rapper Big Pooh and 9th one of the most beloved groups of the 00s.

Beyond the group, the producer born Patrick Douthit would go on to craft tracks for everyone from Jay Z and Destiny’s Child to Buckshot and De La Soul. Most recently, he has worked on Anderson .Paak’s Malibu album, released Brighter Daze, his sixth collaborative project with Murs, and put out Indie 500, a compilation with Talib Kweli. 9th also runs his own label, Jamla Records, home to artists like Rapsody and GQ, as well as managing a collective of producers known as The Soul Council. To say he has a full plate would be a massive understatement.

Another endeavor he is undertaking is celebrating J Dilla at Dilla Weekend in Miami this weekend (2/5-2/7). 9th was not only a peer of Dilla, he was a fan. He took time out of his busy schedule to speak with Ambrosia For Heads, at length, about what made Dilla different from other producers, Jay Dee’s approach to making records, and the separate branch of Hip-Hop the MC/producer created.

Ambrosia For Heads: There’s photo of J Dilla holding a vinyl copy of Little Brother’s The Listening. Had you seen that before?

9th Wonder: Yeah, I have. That photo was taken in the ABB [Records] offices in 2003, when [Little Brother] first signed to ABB. The Listening vinyl was released. Dilla was in the ABB offices, and he took a picture with it. The crazy thing about that though is I never met him. Not once. [We never talked] on the phone, nothing. The only thing I know in my relationship with James Yancey is…well four things: his mom and uncle, his music, that picture, and his grave. That’s it. I’ve never talked to him. I’ve never met him. I never had a phone conversation. Nothing.

Ambrosia For Heads: That’s crazy. I had assumed you guys had worked together, since you were peers. What was it like for you to work on the remix to “The Look Of Love”?

9th Wonder: “Look Of Love”…that was 2002. That was around the time where I was just remixing anything that I could get my hands on. I did a thing called 9th Invented The Remix; I remixed an Amerie joint, I remixed a Bilal joint. This was before I [released] God’s Stepson. All of this stuff…I was remixing anything I could, [Nas’] “2nd Childhood,” anything I could touch. “The Look Of Love” had an acapella to it. I remixed it—this was at a time when I was selling beats for $50. It’s early times, hungry times. When I put it up, everybody was like, “Damn, this remix is dope.” That’s one of the songs that if a 9th Wonder fans wants to prove that he or she has been down with me since day one, that’s one of the songs they mention: “I been down with you since ‘The Look Of Love (Remix).’ I’m like, “Jesus. Really, 2002?”

Ambrosia For Heads: So you had to have been aware of J Dilla’s work before that photo. Would you say you admired his work? Were you a fan?

9th Wonder: Yeah. The first person to turn me onto, at the time “Jay Dee,” was Phonte. But it was through Slum Village. Office Space, the movie, “Get Dis Money” was on that soundtrack.

Ambrosia For Heads: I remember, and in the movie.

9th Wonder: — In the movie, right—the bar scene, it’s playing in the background. That’s when I knew who he was. That was ’98. Prior to that, of course there was [De La Soul’s] “Stakes Is High” and there was [The Pharcyde’s] “Runnin’,” but I didn’t know he did those. I was stuck in “[DJ Premier], Pete Rock, RZA Land.” I was stuck there. Once you get stuck in an artist or producer’s [niche], it’s hard to see anything else—even if it’s dope. But I knew “Runnin'” was dope, and I knew [A Tribe Called Quest’s] Beats, Rhymes, & Life was dope, and I knew Stakes Is High was dope. But I didn’t know this guy from Detroit who was doing it. So Slum Village was like my introduction to Jay Dee. It was through that, it was through my good buddy Pizzo from HipHopSite.com, it was through his site, ’cause he posted “Players” on his site. That’s when you used to click on it and the quality was shitty, right? The quality was totally bad. So I got introduced to Dilla that way.

Ambrosia For Heads: So that’s exactly the same way for me. I remembered that movie, and checkin’ it out—and I remembered “Players.” That sent me to Slum. Then I started doing the research, and that sent me to Janet Jackson, and Erykah [Badu] and all of that. I know you worked on Erykah’s New Amerykah Part One, with “Honey” being the breakout single. A lot of that album was kind of an ode to Dilla and his passing. Did you and Erykah talk about that as one of the themes surrounding the album?

9th Wonder: No. Not as much. I just knew by listening to it that’s what it was about. It had something to do with Dilla—the sound of it. In talking about that album though, if we discuss the idea of—which is a term I really don’t deal with a lot is “Neo Soul.” Neo Soul became a market after Erykah and D’Angelo [came out] and everybody was like, “What is this?” They never called it Neo Soul themselves; they just wanted to be different from Jodeci and Boyz II Men and 702—whoever was R&B contemporary at the time. But the wild thing about it is the sound of what people know as quote-unquote Neo Soul, Dilla is the father of it. The warm sounds, the hand-claps and all of that—Dilla is the father of it. I don’t even think that he meant to be the father of an art-form or market that some people see as pretentious and some people see as snobbish in certain ways or conscious. But the Dilla we know was in strip clubs. [Chuckles] The Dilla we know used to make beats, go to the strip club, and then come back. Like, if you look at the cover of Welcome 2 Detroit, it’s a stripper on the front. [Laughs] It’s kind of ironic that the sound he quote-unquote fathered and the things that it represented, as we now know as Neo-Soul, it wasn’t Dilla at all. Now we’re all children of Q-Tip and A Tribe Called Quest; let’s not get this confused—when I say he is the father of quote-unquote Neo Soul. Whether we’re talking about The Roots, Outkast, Little Brother, Slum, Pac Div, Drake, Wale, Kanye [West]—we’re all children of A Tribe Called Quest, all of us. That’s how we started that jazzy family tree—Tribe started that. But to break off of that family tree and have a family tree of his own, Dilla was that, that sound—not necessarily the beliefs, but that sound. I say all that to say; it makes sense that Badu would [pay homage to J Dilla on New Amerykah Part One].

Ambrosia For Heads: A lot of people know about his work in Soulquarians, but what you’re saying is that it started before that. When would you say it started for Dilla? What are some of the influential records?

9th Wonder: I’ma say the whole Slum Village sound. With “Runnin'” and “Stakes Is High,” those were still hard, boom-bap records. But once we get to like Fan-Tas-Tic Vol. 1 and 2, those two, it turned from simple boom-bap records to kind of some James Brown-standing-around-the-campfire-clapping type records. That’s what those hand-claps were. It sounded like some ’70s “Ay!” Clap. “Ay!” Clap. That’s what “Get This Money” sounded like. It wasn’t just the hard, quote-unquote New York-influenced sound. It sounded like somethin’ totally different. It was more laid back than that. “Players” was like that. “Get Dis Money” was that way. “Go Ladies” was that whole clapping [club] type of shit. I think it started there. I think once he tapped into that it just opened up a whole new lane for beatmakers.

Ambrosia For Heads: In addition to the hand-claps, what would you say about the records he was using for samples? Hip-Hop went through our James Brown movement in the ’80s, and we got to more George Clinton/P-Funk stuff in the ’90s with Dr. Dre. What kind of records do you think he was pulling that were shaping that sound, in addition to the hand-claps?

9th Wonder: It wasn’t too far from—again, what Q-Tip started. Q-Tip started the whole idea of “Okay, we beat up every James Brown record that we could. We exasperated every P-Funk record that we could.” So Q-Tip took the idea of “some of this Cal Tjader record” or “what’s up with Lou Donaldson?” or “What’s up with Cannonball [Adderly]?” or “What’s up with Grant Green?” or “What’s up with Grover Washington? Why are we not using those?” So what Dilla did was take it to the next level. “Okay, we got the American Jazz artists. But what’s up with the Brazilian Jazz records? What’s up with the German Jazz records, or the Japanese Jazz records?” Again, which is another family tree. Like you said, it was James Brown, James Brown, P-Funk—Soul. Then it turned into Jazz Fusion, Jazz. The only Jazz [Hip-Hop] was sampling at one point was Bob James, right? Then we turned into “Okay, let’s find Gap Mangione. Let’s find another Jazz guy. Let’s find this computerized, mathematical guy, and sample that.” Once it got there, it made crate diggers stop looking in the conventional places—which, in turn, meant your ear had to be in a certain place.

Ambrosia For Heads: You talk about crate digging. What does it say about the work ethic that Dilla had to have to be finding these obscure records in the time before the Internet, before everything was available with a click? What did you learn about him by listening to those records that he was pulling?

9th Wonder: It took a lot. We’re at a 20-year cycle for this boom-bap sound. On the mainstream, more-exposure level, with the success of the Anderson .Paak album, and even some of the stuff with me and Rhythm Roulette and stuff like that, we’re at a turning point where boom-bap is becoming the new old thing again. At one point in the mid and late 2000s, the room for creativity and the room for being different, when it comes to this sampling thing, was getting thin. There’s only so much you can do with a Soul record. So I came into the game around 2001, 2002. At that particular time, this is right after [Jay Z’s] The Blueprint. Kanye, Just Blaze, and BINK! were speeding up records and looping records. Me as a producer who also sampled Soul records, I was like, “Huh. I might not want to sample what they’re saying so much, I’m more concerned with the instruments behind it.” It’s just the fact that I can’t take the words off. So if you listen to a lot of my early stuff, I had to make that lane. “I can’t lift Curtis Mayfield’s vocals off of this song, but I can chop around his words. I can do that.” Dilla made crate-digging, looking for songs, looking for samples like “Okay, I know this sounds like a Pete Rock sample. How can I make this sample mine? How can I make it into a Dilla-sounding sample? There’s a lot of records out there, but sometimes we run up on the same stuff. How can I chop this record—which I know my contemporaries got. How can I make this record mine?” Dilla made you think when it comes to listening to a joint. Dilla made you think on that particular level, with the records he chose and the beats that he made.

Ambrosia For Heads: How would you compare and contrast your style of beats with his?

9th Wonder: [Pauses] Man…I don’t, to be honest. That’s a dangerous thing, to compare yourself to Dilla. I would say that, in large respect, we come from the same thought process of “Yo, this is my sound.” If anything, I’d say that Dilla and I, and Madlib, and Alchemist, and all the beat-makers…all the way from Pete and Preem, all the way to Marley Marl, if anything we all contrast each other in what we all believe in. We believe in our sound. We believe in the sound that we come from. We believe in preserving that sound, and making that sound go—no matter who’s rapping on it, whether it be your most conscious rapper or your most hood trap-rapper. It don’t matter. Our sound is our sound, and we refuse to compromise that for anybody. Dilla’s was respected across the board, from the undergroundest of the underground kid to Justin Timberlake, he’s respected all the way across the board. I would like to say in some respect, in some way, shape, or form, I try to make my brand, make my career, or make my sound respected like that as well—from the most underground kid to Destiny’s Child. It’s that particular sound no matter what, from the pop record to the record found on Sandbox Automatic. It don’t matter. That’s [how] I see, in that particular way, that me and Dilla are alike. We understand that scope. We understand that we ain’t gotta compromise to make a Janet Jackson joint or to make a Destiny’s Child joint, or “I can do a Badu joint and turn around and do a Common joint and then turn around and do a Frank-N-Dank joint.” So I took that and said I can do a joint with Murs or Jean Grae, and also turn around do a joint with Jill Scott and Mary J Blige and David Banner and Big Boi. I can still branch myself out without compromising myself.

Ambrosia For Heads: Who would say are your 5 favorite producers, they don’t have to be “top,” in any genre?

9th Wonder: Oh wow! Any genre? I’m a huge Teddy Riley fan. Huge. I’m probably a bigger Jimmy Jam & Terry Lewis fan. I love the production of Al B. Sure and Kyle West. I was in love with that. Al B. Sure’s “Right Now” record which was kinda like the Tevin Campbell “Alone With You” record—them and Chucky Thompson really taught me how to make R&B-Hip-Hop records. When dudes like me can ride down the street bumpin’ a slow jam that got some bottom to it! We can talk Pete, Preem, and Da Beatminerz all day, and Dilla and Madlib, and Hi-Tek, and Nottz–and my own team, the Soul Council and all the people I love. But we talkin’ about producers, bruh? Those [ones I mentioned earlier] shaped the early ’90s. All those shaped my high school and middle school. We talkin’ about Guy, and Janet, and New Edition—and Jimmy Jam & Terry Lewis produced the N.E. Heartbreak album. That shaped my life, bruh! Outside of the Rap records, those are the records. So, we got Jimmy Jam & Terry Lewis, we got Teddy Riley, we got Al B. Sure and Kyle West—that’s three. Chucky Thompson, that’s four because of Mary J. Blige My Life. That album alone… For the fifth, man, I’ma say Raphael Saadiq.

Ambrosia For Heads: You know who I thought you were gonna put in there? Devonte.

9th Wonder: And you know… Gimme a sixth one, man! Devonte Swing… That’s my middle to high school, outside of Hip-Hop, love songs. Take those out, I wouldn’t know how to love, bruh—to be honest.

Ambrosia For Heads: So what can people expect from you coming up on Dilla Weekend on Friday?

9th Wonder: Just the Dilla Weekend and things like that, they are mainly for me. We celebrate Dilla and celebrate his life. His mom gonna be there and everything, those be therapeutic for me. A lot of those times, you get to see people you ain’t seen in a long time. It’s good to have all of us in one place. All of us are fighting a certain fight of what we believe in, and the music. I think Dilla Weekend is a testimonial to that—that we are trying to preserve that particular legacy—not only his life, but his sound, his soul, everything. For me, I’ma try to put on a great show—and at the same time, see all the people I haven’t seen, to be a fan. Those be like all-star weekends, man. We are fans of each other too—Black Thought, Jay Electronica [Laughs] in the same place. What? And Bun B, Royce Da 5’9, and DJ Premier—all in the same place. You go ’cause you have to work. But at the same time, you try to contain yourself from not being a fan or a kid. I’m still a kid. I’m still a kid to Thought and Premier and Royce Da 5’9—when I first heard “Boom.” To be on the flyer with those guys for the Dilla Weekend, I don’t take none of that shit for granted. I don’t. I don’t treat it lightly. I’m going down there pay homage and at the same time, celebrate something that I’m a part of—active participant in. This weekend helps us all bring that back to life.

To see 9th Wonder, Rapsody, Black Thought, Jay Electronica, Bun B, Royce Da 5’9 and more perform at Dilla Weekend, click here for more details.

Related: Pharoahe Monch Speaks About His New Album, J Dilla & 25 Years of Organized Konfusion (Interview)