C
CASTLE HILL
Guest
Is a great producer. I love his tracks on the new Royce album. Finally a producer who can bang out real hip hop on a keyboard. Wasnt he down with Puff and the Hit men? What hot tracks did he produce in the past?
C
C.P.
Guest
Off ad all Iknow is Mase's 24 hours to live, but Nashiem Myrick was also in the credits, along with Puffy and D-Dot, but I dobt they did anything on the beat.
C
CASTLE HILL
Guest
This is what I found:
RapBasement.com: How was it Producing for 1 of the greatest Mc's of all time Biggie Smalls?
Carlos Broady: It was history, It was one of the greatest' experience's I've ever had.
RapBasement.com: Out of all the artist's you've ever worked with who did you most enjoy working with?
Carlos Broady: Its a couple of them Biggie was definately one of them, I really enjoyed working with Raekwon and Ghost Face cause they were like 2 of my favorite Mc's I really enjoyed working with them.
RapBasement.com: Do you feel you get over looked for what you do?
Carlos Broady: Sometimes, you can allways do more sometimes ya do feel like your over looked but I know im in it for the longevity, Im gonna be here for a while.
RapBasement.com: Out of all the tracks you've ever did what was your most favorite?
Carlos Broady: Definately Top of New York with Nore.
RapBasement.com: What do you think about Rap Music being overly produced with synthesizer's and keyboards, do you feel Rap Music has gone too commercialized?
Carlos Broady: Not really, I wouldnt call it over produced as long as its creative im cool with it. You got somethings that arent creative at all but to say its over produced or under produced I dont really think so. I think its the vibe that the producer is having at that time.
----------------------
Information on Carlos Broad
Nominated For Four 2002 Grammy Awards
Carlos Broady, born in Memphis, is one of the most well known writers/producers in the music industry as we know it today. His credits are countless, as well as his talents. Composing hit after hit as an easy task for SIX JULY. Working with such artist as India.Arie, Royce Da 5'9", Puffy, Nortorious B.I.G., The Lox, Black Rob, Lil Kim, Mase, Noreaga, Nas, and 112, are only a few out of his client roster. Bangin' hits is what he was born to do.
Email Six July
**DISCOGRAPHY**
24 HOURS TO LIVE ~ Mase feat. The Lox
AL GREEN II ~ Puff Daddy
ALL HAIL THE QUEEN ~ Lil Kim
AU REVOIR, QUE SERA ~ Mecca
CAN'T NOBODY HOLD ME DOWN ~ Puff Daddy
DRIVER S SEAT ~ Capone & Noreaga
FOREVER ~ Puff Daddy
FOREVER SOULS ~ La The Dark Man
FOUR THREE TWO ONE(remix)~ LL Cool J
GLORY ~ La The Dark Man
GOIN BE SOME **** ~The Lox
GUN RULE ~ La The Dark Man
I HEAR VOICES ~ Puff Daddy
I VE BEEN THROUGH IT ~ Saffir
I WANT IT ALL ~ La The Dark Man
IT AIN T TOO MUCH ~ Power Of 3
JASMINE ~ Black Rob
This article comes from Rap Basement - Rap Hip Hop Lifestyle Network
http://www.rapbasement.com
The URL for this story is:
http://www.rapbasement.com/modules.php?name=Sections&op=viewarticle&artid=14
RapBasement.com: How was it Producing for 1 of the greatest Mc's of all time Biggie Smalls?
Carlos Broady: It was history, It was one of the greatest' experience's I've ever had.
RapBasement.com: Out of all the artist's you've ever worked with who did you most enjoy working with?
Carlos Broady: Its a couple of them Biggie was definately one of them, I really enjoyed working with Raekwon and Ghost Face cause they were like 2 of my favorite Mc's I really enjoyed working with them.
RapBasement.com: Do you feel you get over looked for what you do?
Carlos Broady: Sometimes, you can allways do more sometimes ya do feel like your over looked but I know im in it for the longevity, Im gonna be here for a while.
RapBasement.com: Out of all the tracks you've ever did what was your most favorite?
Carlos Broady: Definately Top of New York with Nore.
RapBasement.com: What do you think about Rap Music being overly produced with synthesizer's and keyboards, do you feel Rap Music has gone too commercialized?
Carlos Broady: Not really, I wouldnt call it over produced as long as its creative im cool with it. You got somethings that arent creative at all but to say its over produced or under produced I dont really think so. I think its the vibe that the producer is having at that time.
----------------------
Information on Carlos Broad
Nominated For Four 2002 Grammy Awards
Carlos Broady, born in Memphis, is one of the most well known writers/producers in the music industry as we know it today. His credits are countless, as well as his talents. Composing hit after hit as an easy task for SIX JULY. Working with such artist as India.Arie, Royce Da 5'9", Puffy, Nortorious B.I.G., The Lox, Black Rob, Lil Kim, Mase, Noreaga, Nas, and 112, are only a few out of his client roster. Bangin' hits is what he was born to do.
Email Six July
**DISCOGRAPHY**
24 HOURS TO LIVE ~ Mase feat. The Lox
AL GREEN II ~ Puff Daddy
ALL HAIL THE QUEEN ~ Lil Kim
AU REVOIR, QUE SERA ~ Mecca
CAN'T NOBODY HOLD ME DOWN ~ Puff Daddy
DRIVER S SEAT ~ Capone & Noreaga
FOREVER ~ Puff Daddy
FOREVER SOULS ~ La The Dark Man
FOUR THREE TWO ONE(remix)~ LL Cool J
GLORY ~ La The Dark Man
GOIN BE SOME **** ~The Lox
GUN RULE ~ La The Dark Man
I HEAR VOICES ~ Puff Daddy
I VE BEEN THROUGH IT ~ Saffir
I WANT IT ALL ~ La The Dark Man
IT AIN T TOO MUCH ~ Power Of 3
JASMINE ~ Black Rob
This article comes from Rap Basement - Rap Hip Hop Lifestyle Network
http://www.rapbasement.com
The URL for this story is:
http://www.rapbasement.com/modules.php?name=Sections&op=viewarticle&artid=14
Wiggum Ralph
New member
He's one of my all-time favorite(him & Nashiem). Castle Hill what songs did he do on the Royce album.
Carlos also got a grammy nomination for the Indie.Arie joint; "Video"
Carlos also got a grammy nomination for the Indie.Arie joint; "Video"
777
New member
he did the last song on the royce album, don't know the name of it tho.
T
Timbatunes
New member
He also did "Players in the Atmosphere" for Lil Wyte and "Ooh Wee" for Frayser Boy.
C
CASTLE HILL
Guest
Wiggum said:
He did 9 joints. My favorites are Death is Certain and the biggie remake Beef. He did the original Beef by biggie. His keyboard playing is tight as hell. He shows you that the right producer can make hip hop with keyboards.Not that Swizz Beat, Dame Grease junk.
Last edited by a moderator:
D
DOVESKI
Guest
Hmmm, i got that Death Is Certain and was under the impression broady samples. Anyhow...heres a related interview i saw the other day.
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Royce 5'9 - Rhyming From The Heart
By Andreas Hale
HHS: You really put yourself out there with Death Is Certain, as it is about as honest as an emcee is going to get; you admit your own wife thinks your music is too violent, broach the question of whether you're a one hit wonder, put your manager on blast and even apologize to fans for attempting to go commercial ("I played myself for radio play, I never dance/but the skill itself is a second chance") what prompted you letting down your guard in such a revealing manner?
Royce: I just was like.... It got to a point where I was listening to a lot of people, not even sayin' no names, and feelin' like they just rock. Not too many niggas had something to say, or not too many niggas had influence. You know what I'm sayin? Like you could just listen to a mutha****a, he might say something, but its only certain mutha****as you listen to where
you feel like they influence you. Like they might even influence you to do some dumb ****! Certain people just got that. I just felt like I just wanted to pour my heart out. You know just air everything out, anything on my mind I was going to go ahead and say. And that alleviates me with having to come up with catchy punch lines, which might fade out in three years. I just wanted to keep it all real talk.
HHS: The LP is really dark and very serious; can we assume this was the state you were in while writing and recording?
Royce: Yeah....definitely. The state that I was in, it just came out that way you know what I'm sayin? I didn't give a ****! I didn't care about makin no radio record, nothing like that man. It had a purpose. This **** was for me. This album was for me, every song.
HHS: Build & Destroy created a very healthy buzz, and with it you proved that you can rip beats from not only the undergrounds finest, but those who are considered A-List producers (and some of the producers you previously worked with are now revered as A-List producers such as Alchemist, Just Blaze, Kanye West and Jay Dee). Could you see yourself getting down with a Timbaland, Just Blaze, Jay Dee or even Pharrell or Chad again?
Royce: Yeah man, any of them. That door is always open, you know what I'm sayin? In fact, everybody you just named, I respect them to the utmost. I'm definitely trying to link up with dudes like that in the future. It's a slow climb though. Like I'm going up the steep side of the hill. I'm the underdog so I'm just taking it one step at a time.
HHS: Well let's talk about another cat. In an interview with us, Kanye West called you out for including a beat on Build And Destroy he alleges was not paid for ("Heartbeat" which is a dope track) but you also come back with a line on "I Promise" that could be considered a reply "you funny acting ass producers I don't need you/you can keep your beats/rap for money/**** you and everybody else who acted funny." Was that directed at Kanye?
Royce: Oh naw, definitely not man. See one thing is like Kanye is not the last producer in the world who is acting funny, you know what I'm sayin? He hasn't done nothing to me for me to single him out. I met Kanye, and he's actually someone who I like as a person. I look at him like, I appreciate what he's doing and I understand the whole pressures that are new to him. With new artists the mistakes they make, a lot of them make. They feel like that they gotta air
all this **** out to press, instead of going up to a nigga like a man. You know what I'm sayin? A lot of new artists do that **** because they don't know the press game yet. So I can't really knock Kanye for what he said about me. I felt like is was a little bit immature, especially for a nigga that's doing beats for ****in J-Lo! As far as the beat that I got from him that I rhymed over, we both knew about the ****. It leaked out. I didn't leak it. That's some **** that's supposed to be explained to him as opposed to me talking to you. But I don't have a problem with Kanye. Like I said I met him and I like him as a person. I felt like he was a cool dude. I feel like he's a little bit high on his horse to be taking shots at me. I'm nobody, you know what I'm sayin? The game is wide open. There's enough money for everybody. Just leave me alone. That's all I'm sayin to everybody.
HHS: You have formed a really good chemistry with Carlos Broady; did you initially plan on working on so many tracks with him?
Royce: You know what man? It was like me and Los always had that chemistry. But it was like "whatever you bring, if I come up with something to it then it makes the album." We didn't put a number on it. He came with a bunch of beats. Like a lot of beats he was saying that he was going to pitch to B.I.G. You know what I'm sayin? It was like a whole feel, it was a good feel. I can't even pinpoint which song was which that we did. I was doing like 3 songs a day. It just
kind of happened like that.
HHS: Well then you know that it's always risky to remake classics, were you at all worried about interpolating B.I.G.'s "What's Beef"?
Royce: Naw cause I didn't feel like it was a remake. Honestly I felt like what I did on the hook, like it came slightly something close to what B.I.G. did on his hook, but I felt like that was paying homage. But I didn't feel like it was a remake. Or I didn't feel like I had to fill those shoes. You know what I'm sayin? Because I'm my own worst critic, like, I would just kill myself trying to compete with B.I.G., a nigga I look up to. I just go, I just go man.
HHS: March 9th is the anniversary of B.I.G.'s death, and three of the tracks Broady laced you with were initially recorded for B.I.G., which ones were they?
Royce: Like I was sayin before, I don't even know. Me and Los did so much **** man, we was doing like 3-4 songs a day. I can't even pinpoint which ones. I remember him pointing out certain songs and beats. You know what I'm sayin? But it's not like he would point them out and I would be like "Okay, I gotta do a Biggie song to this" it would just be like "Oooh its
that ****!" You know what I'm sayin? Like if you listened to the beats you would hear. Like you would probably spot them just by listening to them. The drums and everything just got that "Life after Death" feel. I didn't even try and go that direction with my ****. It just kinda happened like that. I don't know which beats Los pinpointed like that. Like that would probably be something that you would have to ask Los. Like he can probably better tell you. But man, ****, me and Los just got together and kicked it. We just did it! You know what I'm sayin?
HHS: With "Something's Wrong With Him" you showed a lot of growth by implementing live instrumentation, did that come about simply by experimentation in the studio---because the original version was more by the books?
Royce: Um, it definitely was just me being in the game for a minute. Like knowing what it takes to take a song from just being a regular song to being a big song. We really pushed the envelope during the mix of a lot of the records. And I'm really going to do it on my next album. I'm going to get real musical on my next album. This album we just pushed the envelope as
much as we could, any song we could. Los was wide open to do it, I was wide open for it. We just kept it moving. We had everybody in place. We had all the people play the instruments in place so we just did the damn thing. We had fun with it.
HHS: The chemistry with Broady aside, no matter who you work with in the future, can you please continue to do at least one track per LP with Primo?
Royce: Oh yeah! Always. It's always going to be at least one track with Primo every album. As long as I'm around I gotta get one Primo beat.
HHS: That's cool cause them joints be fire! That's for real.
Royce: Fo sho!
HHS: You're a cocky emcee, but I think in the midst of that, fans lose sight that you really drop a lot of knowledge, on "Everybody Goes" you lament "we all borrow tomorrow/this is what God owes us/the biggest Indian giver/he gone take it back/erase you I'm stating facts" do you feel the beef with D-12 and old situations has lead people to stereotype and overlook you as an emcee?
Royce: I don't think they overlook me. Um...I get stereotyped, I don't think its because of D-12 or the beef, I think it's because of the way I carry myself in the booth. You know what I'm sayin? The way I come across on the mic, I think people listen to it and think that's how I am when I step out of the booth. Whereas nobody is the exact same person, you know what I'm sayin? Everybody in the booth is going to get competitive. Like this is rap, this is a competitive
sport this **** started with battle. But when I step out of the booth I'm not tryin to compete with everybody. It's like I respect so many people, you know what I'm sayin, its like I'm not that cocky. I'm cocky on the mic. That's how I get my edge. That's how I get my swagger.
HHS: So you more a less a humble cat right?
Royce: Yeah. I'm humble when I'm out of the booth, but when I'm in the booth....**** humble! You know what I'm sayin? When I'm in the booth I say whatever is on my mind. And I think it's that what's causing cats to take me the wrong way. Not even overlooking me. They just looking like "he's this type of nigga." You know what I'm sayin?
HHS: You were formally signed with Columbia, but parted ways. However, they also dropped the ball on Dead Prez and 50 Cent, does that serve as any consolation?
Royce: You know what? I'm still signed to Sony. Koch is doing this album right here. I got my eyes on the prize. I'm only thinking about this album right here. Whatever I'm going to work out with Columbia is like some future ****. It ain't even no need to speak on what I'm going to do with them. Everything is just so up in the air. I'm so focused on the future that it don't even matter. I just smooth out all of the kinks as they come along.
HHS: On "T.O.D.A.Y." you really delve deeply into the makeup of the music industry and not only how it operates, but who its run by "I learned it don't matter who's spitting better /while these rappers kill each other them Jews stick together like glue/and generate more money then FUBU for something made for you by you." With all of the label turmoil you have experienced, do you feel pimped by the industry?
Royce: Um....I think everybody is pimped by the industry. Not even so much by the industry like (there are) certain people in the game who are just pullin' the strings. All the people in the game who is willing to realize that's the position that they got. That's when it is a spot for them. You know what I'm sayin? You gotta know who is big, who is not big. That's just how
**** is. It don't even really matter to me no more. Like, it's no label that I can put a sign on to where it's like "Okay, this is the perfect label for me." It's really to a point now where it's like I gotta have my sound and bring it to a label and say "This is the sound I want to bring to your label" either you're willing to do it or you're not. It's either going to go one way or the other. I'm not tryin to be up under nobody no more.
HHS: Unlike Hiphop's past beefs, which for the most part stayed contained on wax only, today's beefs have taken on violent connotations and are spilling into some street **** at an alarming rate, but on "I & Me" you make a reference what's really important "there's only so many times I can let my temper get tested/I can't handle this/I'll eventually get arrested/I'm on the verge of doing some things that won't help ****/take myself away from my family is so selfish" and that you contemplated retiring because of it. At what point did you realize that this beef **** is just not worth it?
Royce: I mean before it really even escalated. I always looked at it like its nonsense. You know what I'm sayin? Because it started as just a bunch of rappers talking. And basically you're put into a situation where whoever the public feel like they want to believe at the time is who wins. You know what I'm sayin? And then when the real street **** starts going down, like when people start dropping or **** just starts happening. A lot of **** people don't even hear about. It's not even worth it. It's just not worth it for **** like that to happen just stemming from some
**** a nigga can say on a track. It's stupid. It's always been stupid to me. It's been **** said on my part and it's been **** said on their part to where it was not necessary. You know what I'm sayin? You live and you learn. From the very beginning I always thought it was stupid.
HHS: Speaking of which, everyone knows that you had a very well-publicized beef of your own with Eminem and D-12, but can you please shed light on the event between you and Proof that thankfully lead to the beef being squashed.
Royce: With me and Proof man its like. I don't want to speak on it too much cause I don't want to make it look like I'm showin' out because he's not here to tell his side. It goes back to the Kanye ****. A lot of mutha****as get to talking and they don't take into consideration what the next man is feeling or what's on the next mans mind. I'm sure Proof has his side of the story, but basically he came around the corner, we started talking about the beef and the next thing you know we got our guns out like "We gonna squash it? Or what we gonna do?" Next thing you know, we're arrested, we in jail. We're in two different cells and we both felt like idiots. Like, I wish Pac and B.I.G. could've went through this kind of situation because they probably would still be here. You know what I'm saying? The time we spent in jail was enough time for
us both to reflect on how stupid the **** was and we just aired everything out. It was just a talk waiting to happen. Me and Proof had not spoke all that time so we did not know how each other felt. We was both gung-ho, we was both ready to do whatever with whoever. We finally met up and **** happened how it happened.
HHS: Whenever there is a nasty falling out, one where someone you're close to, or were close to, blows up in such a major way, the perception of most lays in "the one, who is not rich, is just crying foul because he's losing money." Obviously, falling out with Slim cost you loot, and you want to get major paper, but it has to be much deeper then that here because of the way it went down and the nature of your relationship.
Royce: Well with me and Shady man, it has nothing to do with money. It has nothing to do with the game. His friendship is way more important to me. He's a real dude. Like, I got love for dude. I always will no matter what the **** goes on. It's so much going on around us that I don't think he has the time to actually sit down and look around and say "Okay Royce actually got love for me" It's too much going on. Which I can respect. I don't really give a ****. We
can agree to disagree or we ain't gotta speak or whatever. I don't want the public to get the
perception like he left me behind and I was bitter. It's not a big deal. Like, the game is the game, I'm gonna always be the emcee. I'm going to always be Royce 5'9" you know what I'm sayin? I rhyme in my sleep with or without the white boy. That don't matter. The only thing he has to do with Royce 5'9" is the friendship. That's all I really give a **** about. You know what I'm saying? I don't care about the emcee side of it. As far as the money, there's always ways
to make money.
HHS: Right, there's always enough money for everybody.
Royce: Yeah.
HHS: On "I Promise" you state "my father want me to bring out product without Slim/and prove them wrong" has this been a motivating factor that made you ever hungrier to prove any skeptics wrong?
Royce: Yeah, that's one of the things. You know my father will tell me in a minute "I want you to stand on your own, be independent, I don't want you to look like you gotta lean on somebody" That's definitely a motivating factor for me.
HHS: In reality, your relationship with Eminem has been both a gift and a curse. Whether people want to admit it or not, the both of you have an obvious chemistry and no one has really been able to rock with him the way you did (see "Renegades", "Scary Movies,"
"Nuttin To Do"). And as an end result we, the fans, take the L for that, because we want to see you and Em collaborate.
Royce: Man.that door is always open. That door will never close. I can only speak from my side. On my side that door is never closed. I will always look forward to working with Em because he's always going to bring out something that I didn't know I had inside me. That's how it is. Like emcees who really give a **** about emcee-ing, when they connect it's such a competition and everybody's focused on their wordplay it's like line for line. You just go at it. I ain't been able to spar with nobody like that in a long time. I would love to do it but it's like.. ****.... if it
happens it happens. If it don't happen it really don't matter. Like I said man Royce is Royce. Definitely.
HHS: What was your take on the Source's "Eminem Tapes"?
Royce: My take on the Eminem tapes dawg. when I heard it. I was thinking to myself "How can somebody this ****in' dope be that wack at that age (laughter). It was like "Goddamn dawg!" how old was he like 17,18?
HHS: I don't know they've been saying all types of ****.
Royce: Like he was wack. It was like, he can't even rhyme. How the **** did he become so ****in good? That's what baffles me. As far as the Source bringing it up, that's their issue. That's something they go through. I don't know. I'm just an emcee putting in hard work, doing it the good old fashioned way.
HHS: You're a major label talent, but you're not on a major label, why and will that change after Death Is Certain?
Royce: Hopefully. Hopefully that's one of the aims. You know what I'm sayin? Like I said, it's not for the money or the power, it's for the respect. When I say respect I'm speaking on the industry buzz too. Hopefully I get a nice industry buzz and the industry gets to talkin. Somebody will actually listen to the album and see the way I'm able to put albums together and put songs together. Maybe somebody will look at me as a commodity, maybe I'll sign with somebody or maybe I'll get a label deal or whatever. Everything I do is like a stepping stone to a better situation.
HHS: So you really don't feel like there's any certain label out there you be a great home for you?
Royce: You can't call it. I just feel like I can't call it. I feel like I can set up home anywhere. Any
label, from the smallest to the largest, it all depends on what's going on at that time. What kind of records that I'm doin.
HHS: You started your own label, M.I.C. (Make It Count Records), who is on it and what artists are you highlighting?
Royce: I've got D-Elite, that's my crew. There's five of us: Billy Nix, Cutthroat, June, Myself, my man Tre Little. We just going crazy with it. You know what I'm saying? We're just all emcees. I got my man Kid Vicious, my little brother, my man Birdie. Those are the artists that I'm highlighting. Those are the ones that I know are riding with me
HHS: Any last words to leave us with?
Royce: Feb. 24th. Go buy that album! Do yourself a favor! (Laughter)
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Royce 5'9 - Rhyming From The Heart
By Andreas Hale
HHS: You really put yourself out there with Death Is Certain, as it is about as honest as an emcee is going to get; you admit your own wife thinks your music is too violent, broach the question of whether you're a one hit wonder, put your manager on blast and even apologize to fans for attempting to go commercial ("I played myself for radio play, I never dance/but the skill itself is a second chance") what prompted you letting down your guard in such a revealing manner?
Royce: I just was like.... It got to a point where I was listening to a lot of people, not even sayin' no names, and feelin' like they just rock. Not too many niggas had something to say, or not too many niggas had influence. You know what I'm sayin? Like you could just listen to a mutha****a, he might say something, but its only certain mutha****as you listen to where
you feel like they influence you. Like they might even influence you to do some dumb ****! Certain people just got that. I just felt like I just wanted to pour my heart out. You know just air everything out, anything on my mind I was going to go ahead and say. And that alleviates me with having to come up with catchy punch lines, which might fade out in three years. I just wanted to keep it all real talk.
HHS: The LP is really dark and very serious; can we assume this was the state you were in while writing and recording?
Royce: Yeah....definitely. The state that I was in, it just came out that way you know what I'm sayin? I didn't give a ****! I didn't care about makin no radio record, nothing like that man. It had a purpose. This **** was for me. This album was for me, every song.
HHS: Build & Destroy created a very healthy buzz, and with it you proved that you can rip beats from not only the undergrounds finest, but those who are considered A-List producers (and some of the producers you previously worked with are now revered as A-List producers such as Alchemist, Just Blaze, Kanye West and Jay Dee). Could you see yourself getting down with a Timbaland, Just Blaze, Jay Dee or even Pharrell or Chad again?
Royce: Yeah man, any of them. That door is always open, you know what I'm sayin? In fact, everybody you just named, I respect them to the utmost. I'm definitely trying to link up with dudes like that in the future. It's a slow climb though. Like I'm going up the steep side of the hill. I'm the underdog so I'm just taking it one step at a time.
HHS: Well let's talk about another cat. In an interview with us, Kanye West called you out for including a beat on Build And Destroy he alleges was not paid for ("Heartbeat" which is a dope track) but you also come back with a line on "I Promise" that could be considered a reply "you funny acting ass producers I don't need you/you can keep your beats/rap for money/**** you and everybody else who acted funny." Was that directed at Kanye?
Royce: Oh naw, definitely not man. See one thing is like Kanye is not the last producer in the world who is acting funny, you know what I'm sayin? He hasn't done nothing to me for me to single him out. I met Kanye, and he's actually someone who I like as a person. I look at him like, I appreciate what he's doing and I understand the whole pressures that are new to him. With new artists the mistakes they make, a lot of them make. They feel like that they gotta air
all this **** out to press, instead of going up to a nigga like a man. You know what I'm sayin? A lot of new artists do that **** because they don't know the press game yet. So I can't really knock Kanye for what he said about me. I felt like is was a little bit immature, especially for a nigga that's doing beats for ****in J-Lo! As far as the beat that I got from him that I rhymed over, we both knew about the ****. It leaked out. I didn't leak it. That's some **** that's supposed to be explained to him as opposed to me talking to you. But I don't have a problem with Kanye. Like I said I met him and I like him as a person. I felt like he was a cool dude. I feel like he's a little bit high on his horse to be taking shots at me. I'm nobody, you know what I'm sayin? The game is wide open. There's enough money for everybody. Just leave me alone. That's all I'm sayin to everybody.
HHS: You have formed a really good chemistry with Carlos Broady; did you initially plan on working on so many tracks with him?
Royce: You know what man? It was like me and Los always had that chemistry. But it was like "whatever you bring, if I come up with something to it then it makes the album." We didn't put a number on it. He came with a bunch of beats. Like a lot of beats he was saying that he was going to pitch to B.I.G. You know what I'm sayin? It was like a whole feel, it was a good feel. I can't even pinpoint which song was which that we did. I was doing like 3 songs a day. It just
kind of happened like that.
HHS: Well then you know that it's always risky to remake classics, were you at all worried about interpolating B.I.G.'s "What's Beef"?
Royce: Naw cause I didn't feel like it was a remake. Honestly I felt like what I did on the hook, like it came slightly something close to what B.I.G. did on his hook, but I felt like that was paying homage. But I didn't feel like it was a remake. Or I didn't feel like I had to fill those shoes. You know what I'm sayin? Because I'm my own worst critic, like, I would just kill myself trying to compete with B.I.G., a nigga I look up to. I just go, I just go man.
HHS: March 9th is the anniversary of B.I.G.'s death, and three of the tracks Broady laced you with were initially recorded for B.I.G., which ones were they?
Royce: Like I was sayin before, I don't even know. Me and Los did so much **** man, we was doing like 3-4 songs a day. I can't even pinpoint which ones. I remember him pointing out certain songs and beats. You know what I'm sayin? But it's not like he would point them out and I would be like "Okay, I gotta do a Biggie song to this" it would just be like "Oooh its
that ****!" You know what I'm sayin? Like if you listened to the beats you would hear. Like you would probably spot them just by listening to them. The drums and everything just got that "Life after Death" feel. I didn't even try and go that direction with my ****. It just kinda happened like that. I don't know which beats Los pinpointed like that. Like that would probably be something that you would have to ask Los. Like he can probably better tell you. But man, ****, me and Los just got together and kicked it. We just did it! You know what I'm sayin?
HHS: With "Something's Wrong With Him" you showed a lot of growth by implementing live instrumentation, did that come about simply by experimentation in the studio---because the original version was more by the books?
Royce: Um, it definitely was just me being in the game for a minute. Like knowing what it takes to take a song from just being a regular song to being a big song. We really pushed the envelope during the mix of a lot of the records. And I'm really going to do it on my next album. I'm going to get real musical on my next album. This album we just pushed the envelope as
much as we could, any song we could. Los was wide open to do it, I was wide open for it. We just kept it moving. We had everybody in place. We had all the people play the instruments in place so we just did the damn thing. We had fun with it.
HHS: The chemistry with Broady aside, no matter who you work with in the future, can you please continue to do at least one track per LP with Primo?
Royce: Oh yeah! Always. It's always going to be at least one track with Primo every album. As long as I'm around I gotta get one Primo beat.
HHS: That's cool cause them joints be fire! That's for real.
Royce: Fo sho!
HHS: You're a cocky emcee, but I think in the midst of that, fans lose sight that you really drop a lot of knowledge, on "Everybody Goes" you lament "we all borrow tomorrow/this is what God owes us/the biggest Indian giver/he gone take it back/erase you I'm stating facts" do you feel the beef with D-12 and old situations has lead people to stereotype and overlook you as an emcee?
Royce: I don't think they overlook me. Um...I get stereotyped, I don't think its because of D-12 or the beef, I think it's because of the way I carry myself in the booth. You know what I'm sayin? The way I come across on the mic, I think people listen to it and think that's how I am when I step out of the booth. Whereas nobody is the exact same person, you know what I'm sayin? Everybody in the booth is going to get competitive. Like this is rap, this is a competitive
sport this **** started with battle. But when I step out of the booth I'm not tryin to compete with everybody. It's like I respect so many people, you know what I'm sayin, its like I'm not that cocky. I'm cocky on the mic. That's how I get my edge. That's how I get my swagger.
HHS: So you more a less a humble cat right?
Royce: Yeah. I'm humble when I'm out of the booth, but when I'm in the booth....**** humble! You know what I'm sayin? When I'm in the booth I say whatever is on my mind. And I think it's that what's causing cats to take me the wrong way. Not even overlooking me. They just looking like "he's this type of nigga." You know what I'm sayin?
HHS: You were formally signed with Columbia, but parted ways. However, they also dropped the ball on Dead Prez and 50 Cent, does that serve as any consolation?
Royce: You know what? I'm still signed to Sony. Koch is doing this album right here. I got my eyes on the prize. I'm only thinking about this album right here. Whatever I'm going to work out with Columbia is like some future ****. It ain't even no need to speak on what I'm going to do with them. Everything is just so up in the air. I'm so focused on the future that it don't even matter. I just smooth out all of the kinks as they come along.
HHS: On "T.O.D.A.Y." you really delve deeply into the makeup of the music industry and not only how it operates, but who its run by "I learned it don't matter who's spitting better /while these rappers kill each other them Jews stick together like glue/and generate more money then FUBU for something made for you by you." With all of the label turmoil you have experienced, do you feel pimped by the industry?
Royce: Um....I think everybody is pimped by the industry. Not even so much by the industry like (there are) certain people in the game who are just pullin' the strings. All the people in the game who is willing to realize that's the position that they got. That's when it is a spot for them. You know what I'm sayin? You gotta know who is big, who is not big. That's just how
**** is. It don't even really matter to me no more. Like, it's no label that I can put a sign on to where it's like "Okay, this is the perfect label for me." It's really to a point now where it's like I gotta have my sound and bring it to a label and say "This is the sound I want to bring to your label" either you're willing to do it or you're not. It's either going to go one way or the other. I'm not tryin to be up under nobody no more.
HHS: Unlike Hiphop's past beefs, which for the most part stayed contained on wax only, today's beefs have taken on violent connotations and are spilling into some street **** at an alarming rate, but on "I & Me" you make a reference what's really important "there's only so many times I can let my temper get tested/I can't handle this/I'll eventually get arrested/I'm on the verge of doing some things that won't help ****/take myself away from my family is so selfish" and that you contemplated retiring because of it. At what point did you realize that this beef **** is just not worth it?
Royce: I mean before it really even escalated. I always looked at it like its nonsense. You know what I'm sayin? Because it started as just a bunch of rappers talking. And basically you're put into a situation where whoever the public feel like they want to believe at the time is who wins. You know what I'm sayin? And then when the real street **** starts going down, like when people start dropping or **** just starts happening. A lot of **** people don't even hear about. It's not even worth it. It's just not worth it for **** like that to happen just stemming from some
**** a nigga can say on a track. It's stupid. It's always been stupid to me. It's been **** said on my part and it's been **** said on their part to where it was not necessary. You know what I'm sayin? You live and you learn. From the very beginning I always thought it was stupid.
HHS: Speaking of which, everyone knows that you had a very well-publicized beef of your own with Eminem and D-12, but can you please shed light on the event between you and Proof that thankfully lead to the beef being squashed.
Royce: With me and Proof man its like. I don't want to speak on it too much cause I don't want to make it look like I'm showin' out because he's not here to tell his side. It goes back to the Kanye ****. A lot of mutha****as get to talking and they don't take into consideration what the next man is feeling or what's on the next mans mind. I'm sure Proof has his side of the story, but basically he came around the corner, we started talking about the beef and the next thing you know we got our guns out like "We gonna squash it? Or what we gonna do?" Next thing you know, we're arrested, we in jail. We're in two different cells and we both felt like idiots. Like, I wish Pac and B.I.G. could've went through this kind of situation because they probably would still be here. You know what I'm saying? The time we spent in jail was enough time for
us both to reflect on how stupid the **** was and we just aired everything out. It was just a talk waiting to happen. Me and Proof had not spoke all that time so we did not know how each other felt. We was both gung-ho, we was both ready to do whatever with whoever. We finally met up and **** happened how it happened.
HHS: Whenever there is a nasty falling out, one where someone you're close to, or were close to, blows up in such a major way, the perception of most lays in "the one, who is not rich, is just crying foul because he's losing money." Obviously, falling out with Slim cost you loot, and you want to get major paper, but it has to be much deeper then that here because of the way it went down and the nature of your relationship.
Royce: Well with me and Shady man, it has nothing to do with money. It has nothing to do with the game. His friendship is way more important to me. He's a real dude. Like, I got love for dude. I always will no matter what the **** goes on. It's so much going on around us that I don't think he has the time to actually sit down and look around and say "Okay Royce actually got love for me" It's too much going on. Which I can respect. I don't really give a ****. We
can agree to disagree or we ain't gotta speak or whatever. I don't want the public to get the
perception like he left me behind and I was bitter. It's not a big deal. Like, the game is the game, I'm gonna always be the emcee. I'm going to always be Royce 5'9" you know what I'm sayin? I rhyme in my sleep with or without the white boy. That don't matter. The only thing he has to do with Royce 5'9" is the friendship. That's all I really give a **** about. You know what I'm saying? I don't care about the emcee side of it. As far as the money, there's always ways
to make money.
HHS: Right, there's always enough money for everybody.
Royce: Yeah.
HHS: On "I Promise" you state "my father want me to bring out product without Slim/and prove them wrong" has this been a motivating factor that made you ever hungrier to prove any skeptics wrong?
Royce: Yeah, that's one of the things. You know my father will tell me in a minute "I want you to stand on your own, be independent, I don't want you to look like you gotta lean on somebody" That's definitely a motivating factor for me.
HHS: In reality, your relationship with Eminem has been both a gift and a curse. Whether people want to admit it or not, the both of you have an obvious chemistry and no one has really been able to rock with him the way you did (see "Renegades", "Scary Movies,"
"Nuttin To Do"). And as an end result we, the fans, take the L for that, because we want to see you and Em collaborate.
Royce: Man.that door is always open. That door will never close. I can only speak from my side. On my side that door is never closed. I will always look forward to working with Em because he's always going to bring out something that I didn't know I had inside me. That's how it is. Like emcees who really give a **** about emcee-ing, when they connect it's such a competition and everybody's focused on their wordplay it's like line for line. You just go at it. I ain't been able to spar with nobody like that in a long time. I would love to do it but it's like.. ****.... if it
happens it happens. If it don't happen it really don't matter. Like I said man Royce is Royce. Definitely.
HHS: What was your take on the Source's "Eminem Tapes"?
Royce: My take on the Eminem tapes dawg. when I heard it. I was thinking to myself "How can somebody this ****in' dope be that wack at that age (laughter). It was like "Goddamn dawg!" how old was he like 17,18?
HHS: I don't know they've been saying all types of ****.
Royce: Like he was wack. It was like, he can't even rhyme. How the **** did he become so ****in good? That's what baffles me. As far as the Source bringing it up, that's their issue. That's something they go through. I don't know. I'm just an emcee putting in hard work, doing it the good old fashioned way.
HHS: You're a major label talent, but you're not on a major label, why and will that change after Death Is Certain?
Royce: Hopefully. Hopefully that's one of the aims. You know what I'm sayin? Like I said, it's not for the money or the power, it's for the respect. When I say respect I'm speaking on the industry buzz too. Hopefully I get a nice industry buzz and the industry gets to talkin. Somebody will actually listen to the album and see the way I'm able to put albums together and put songs together. Maybe somebody will look at me as a commodity, maybe I'll sign with somebody or maybe I'll get a label deal or whatever. Everything I do is like a stepping stone to a better situation.
HHS: So you really don't feel like there's any certain label out there you be a great home for you?
Royce: You can't call it. I just feel like I can't call it. I feel like I can set up home anywhere. Any
label, from the smallest to the largest, it all depends on what's going on at that time. What kind of records that I'm doin.
HHS: You started your own label, M.I.C. (Make It Count Records), who is on it and what artists are you highlighting?
Royce: I've got D-Elite, that's my crew. There's five of us: Billy Nix, Cutthroat, June, Myself, my man Tre Little. We just going crazy with it. You know what I'm saying? We're just all emcees. I got my man Kid Vicious, my little brother, my man Birdie. Those are the artists that I'm highlighting. Those are the ones that I know are riding with me
HHS: Any last words to leave us with?
Royce: Feb. 24th. Go buy that album! Do yourself a favor! (Laughter)
C
CASTLE HILL
Guest
DOVESKI said:
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DOVESKI
Guest
**** sounds right regardless. I never even heard of him till the Royce album. Its cool a producer with credits like that has faith in Royce. im def rooting for 5'9.
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terrellmoragne
New member
CASTLE HILL said:
Me and Carlos(C-Love) go way back to 1993. I still have a adat tape of a song that he done for me back when I use to rap. I still have a Cd that he produced for my partner MC 12 back in 93 also. Realize that this was before he got the B.I.G gig up in NY with Puffy and Myrick.I remember when he was telling me and Chris that he had sent a beat tape to B.I.G and we was like ,Yeah right nigga. We were tripping when the Lil Kim Queen Bee or ***** came out.Also the Capone and Norega "Drivers Seat" was wild as hell. You can almost always tell Broady's style from the way he samples and what he samples. Listen to" Gangsta Party"by Yo Gotti and then listen to "Somebody's got to die" on Life after Death by B.I.G. I knew him back when he was using and Casio sampler keyboard and a set of 1200 turntables and a 4 track tape mixer. Then came the MPC 60 and plenty of sample time.After the 60 came the SP1200 which he did most of Chris's album on back in 93-94.After he blew up I got married to my first wife and forgot about music.Fast Forward life past two girls,divorce and a bunch of trials in life and me getting remarried in 2003. I decide to buy a Triton Studio and a turntable. I never learned to work the drum machine like Broady. I never took the time to because I was rapping and getting high back then. I believe that I really missed out on a great learning opportunity back then because we were young and stupid. Anyway, I later purchased and MPC 4000 ,Protools and some software. I learned how to work most of my **** from the manuals and from sites like this believe it or not.I got inspiration from producers like Broady,Dre,and from just being a hiphop head. I just saw Carlos at the Indie Impact Conference this past Saturday Oct 18th here in Memphis. I mean I have not seen Broady(C-Love) for over thirteen years.Carlos was like man you still look the same. I'm like I wish , I'm pushing into my late thirties right! We was talking about equipment and I told him that I was on the 4000. He was like man I'm totally on software now. I was like the MPC, Sp 1200 man on software,Wow!!!!! He said that he's on the Open Labs Neko now.He said that it comes with 100,000 sounds. He said my partner got over 1,000,000 sounds in his. (I'm not for sure but I think he was talking about" Polow da Don" I'll ask him next time we talk)I was like damn,I'm looking at getting one as soon as I get my money right(sell my first major track) and buy my wife a bigger house first.(LOL)It was really nice to see Carlos again and to get his contact number. He was looking for DJ Toomp who spoke at one of the workshops at the conference.Carlos is part owner of Universal Productions in Southaven,Ms. Southaven is a suburb just across the stateline south of the Memphis area.That's a real nice set up. I hope to get to work with Carlos in the near future. The conference was a great experience for a up and coming producer or artist. I met and talked to Billy Hume"producer for Lil Jon,Shopboys-(played guitar on party like a rock star"),Kendrick"Wyldcard"Dean-Destinys Child,Chris Brown,Insane Wayne-producer for Plies "Shawty".The best conversation the I had was with the producer Ralph Suttton- Motown producer for Stevie Wonder,Marvin Gaye,Lionel Richie,RickJames-superfreak,maryjane. THIS IS THE PRODUCER WHO PRODUCECED THE STUFF THAT SOME OF US SAMPLE!!! I talked with Ralph for almost an hour about the recording technics of the 70's and 80's verses recording with Protools now. He had some wild stories to tell about his life experiences as a producer and an engineer. He has a studio here called" Ralph Suttons Studio D House of Blues". He bought into the old Kiva Studio here in Memphis which is the ****. Billy Humes said that Memphis is a gold mine. Memphis artist just need to step out of their comfort zone. We tend to do one style of music here and you all know what that is.By the way Billy told me to send him some of my **** so that he can check it out. You better believe that I was in there getting my music hustle on.If any one of you get a chance to attend the Indie Impact Conf. it is a great experience. If you are just starting or if you have been doing this for a while you can gain alot of industry knowledge.I was told it is not about having a room full of **** but its the man or woman behind the equipment. I have seen on several of these sites where people would have thousands of dollars worth of equipment but the songs honestly sound like ****.You got to have your heart into this music. I don't want no one to ever tell me"MAN I CAN MAKE A HOT BEAT IN TEN MINUTES." BUll**** is exactly what it is if you are doing that. Like Ralph said it took him weeks to track ,record and produce one song back in the day.Record to two inch tape and manully cut the tape and do automation by hand.You got to have heart in this music. Thats why at 26 years old I decided to give this thing a try again back in 03. I love music. To all these dope boys trying to do this ****,have your heart into this music .We all want to get paid but its more than just about money and material bull****. Music is like sex,you have to have some kind of chemistry or feeling for it or else its not going down. Unless you got a freak then that **** want last long,get it! Like Insane Wayne was saying "Just because you sell dope ,it don't make you a rapper or a producer'.You need to stick with what you good at and stop putting out that bull****.I just thought that I would let everybody know my experience with Broady since you guys were talking about Carlos Broady. Everybody keep making good music.....
Ground Zero
http://myspace.com/projectzeropro
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rogerlinn
New member
i went to school with him
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