BEHIND CLOSED DOORS
WORDS: N. ALI EARLY

He’ll probably receive a lifetime achievement award sometime after his legacy has been well established and chances are his grandmother’s mantle will have been clear of accolades since the dawn of his storied career. As made as any man in hip hop, 50 Cent has been nominated for a mind boggling 14 Grammy’s, but never had the pleasure of seeing his favorite woman smile that proud smile.

In 2003, after disposing of his most obvious irritant, he took the reigns as the new kid on the block, selling upwards of 12 million copies with the release of Get Rich Or Die Tryin’. He won fans and celebrity for his trouble, but no trophies. No best artist of the year. Not the best song. Nothing.

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If the Blues Brothers and Cheech & Chong merged then made like the Wonder Twins and took the form of a hip hop group, they’d probably sound something like the Get Busy Committee. They wouldn’t give a fuck whether they sold millions of records, because they know in their hearts the shit they’re putting down is priceless. They’d make music from the gut, no limitations, 100% independent, categorically all their own.

In real life GBC represents a funky fuse of rap royalty, rock metal, hip pop and some shit you’ve never heard before. Safe to say this crew does exactly what it likes and its musical boundaries are nonexistent.

Uzi Does It, the official debut of Ryu, Apathy and Scoop Deville, otherwise known as the GBC, is more than an album. It’s a product that you have to have one way or another.

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Let their promo pics tell it, Pretty Ricky as a collective, is soft.

You imagine their music to be the stale, overly produced mess that R&B has succumbed to in this not so artistic industry. Surprisingly, Pretty Ricky’s every day appearance and/or perceived promotional rep, doesn’t do their music or maturity justice. Their third and newest album, the self-titled Pretty Ricky, shows that, despite their over the top appearance, they’re as dedicated to putting out good music as they are to solidifying an eternal bond with their fans.

Though the day is overcast, cool and rainy, the guys are unexpectedly upbeat. Bearing the innocence of a fourteen year old boy, Spectacular looks up and announces, “I’m tired.” He then sighs before popping up from his chair to grab some food to join the others at a display tailor made just for them.

Given his recent decision to eliminate red meat from his diet, Diamond “Baby Blue” Smith makes his way from the chow line first, effectively prompting a domino effect, beginning with the newest member of the group, Emmanuel “Lingerie” Deanda. Corey “Slick’em” Mathis, easily the most visible with his bright gold teeth and long, flowing dreads, is next. Then, as if it were a predetermined move on all their parts, Spectacular joins the circle, his mood focused, friendly and charming.

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HOME OF THE BRAVE

It’s a good two months prior to the release for his eighth solo album, Category F5 and Carl “Twista” Mitchell is doing what he does best: making music. He is not, however, in some dolled up studio all the way West in Hollywood. Nor is he in one of the million music factory’s of New York, or even Atlanta. He’s at the Crib – literally.

Truth be told, Twista is one of two people that can operate under such conditions. The other happens to be one of music’s most genius talents, despite his controversial ties to underage women. Regardless, either of them has done much to blaze a trail for their successors and put the city of Chicago on the map in the process.

“Me and R. Kelly can do what we do from the Crib (Chicago),” Twista allows from the basement of his Chicago home. “We’re homebodies. We like to stay at home.”

With good reason, Twista can do him from his nest simply because the city of Chicago has accepted and even owned his success. Whether they’ve followed him from the past or currently stand at attention for his Twitter updates, he has a base that looks for him and to him, when others from the same streets don’t have the same luxury.

“Chicago got a whole lot of talent here,” he begins, pausing for emphasis. “As far as on the industry standpoint, we just don’t have it as much as other people have it. When you look at the top artists in the City, everybody moved except for me.”

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RECIPROCAL REWARDS

Words: N. Ali Early

While putting his platinum touch on Snoop Dogg’s Ego Trippin’ a year ago, DJ Quik observed an atmosphere that reminded him of a time when the West could do no wrong. Everybody was hungry and virtually unknown. Together, The Lady of Rage, RBX, Dat Nigga Daz, Kurupt, Snoop Dogg and Dr. Dre spent weeks in the studio, their vision blurred from writing day and night – their stomachs growling from certain hunger. But it was their appetite to succeed that made The Chronic a classic album. It was their greed for success that catapulted Dre from super producer to unadulterated genius.

And it was there all over again. Right before his eyes, Quik saw the same type of unbridled fury unfolding in front of him – like magic. The music was on point, as was the energy and all that was left, was for someone to make the suggestion.

“Snoop set it up like an old school studio session,” Quik discloses, commending his longtime rap cohort for his own genius. “He made the energy the same way it was back then. He triggered it.”

‘It’ eventually materialized in the form of Blaqkout, an insane combination of arguably the West’s best lyricist and producer for a full-length album collaboration.

“Snoop just started being really sharp,” Quik continues. “He just started planting seeds. He planted a seed in us about potentially doing a record and he pretty much let Kurupt know it was in his best interest to stay here and not hit the road.”

A devout Dogg Pound Gangsta, Kurupt is known to travel with Snoop Dogg every year regardless of what may be available to him beyond Snoop’s interests. Ironically, it’s that loyalty and dedication that convinced Big Snoop that he and Quik would kreate a masterpiece together.

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