With all due respect to every blipster emcee and party starter that tried, and in many cases has succeeded in doing this hip hop/party/electro thing, you were clearly close, but ultimately doing it wrong. Let’s re-introduce the man to the table who has been doing it right all along, who is back at the forefront with forthcoming album release Popcycle, Greg Nice. Greg N.I.C.E. And before you even get started, he still rocks for a fee, for charity, and wants all of your employers and employees to pay attention. On his latest, the deans of the new school of what we’ll call for lack of a better term, electro hop, from club producers Scottie B and King Tutt to A-Trak and a plethora more show no old dogs and no new tricks, but a slew of classic material set to leave a dance floor flooded in sweat.
Since the inception of his career, the veteran emcee has been far off of the typical hip hop path. Coming from the Sleeping Bag Records family that always represented for house, hip house and freestyle, he has a well versed background in the club, and will always be aware of what’s popping there. In his career, he’s had hits not only with Nice and Smooth, but with freestyle diva Lisette Melendez, reggaeton flips of Nice and Smooth classics, New Kids on the Block with “Dirty Dawg,” and possibly his biggest hit, providing the vocal sample that powers The Wiseguys’ 2002 hot from the Zoolander soundtrack, “Start the Commotion.” Without Greg Nice, there is no such thing as a Lil Jon or an LMFAO. In having the legitimacy in the hip hop world and an understanding and appreciation of different styles of rhythmic dance music as well, he’s one of the few artists who can provide instantaneous legitimacy to any track they touch in both worlds.
I had the opportunity to chat with the music legend at length regarding his latest album, record industry politics, recording with new producers and old favorites alike, his creative process, and thoughts on his future and the future of music. Listen and enjoy! Like his new track says, he is indeed “still that motherfuck@.”