Common always seems to be a few years ahead of his time. The Chicago MC was once scolded by the hip-hop community for his more adventitious projects–Electric Circus and Universal Mind Control–however now it’s almost the norm for hip-hop artists to rhyme over electro beats. Ever forward thinking and innovative, the MC has not only changed the hip-hop game, but has made his mark in feature films, television, and causes such as animal rights, AIDS awareness, and Haitian relief.

We caught up with Common at BMI’s “How I Wrote That Song” panel at The House of Blues in Hollywood a day before he attended the 52nd Annual Grammy ceremony, where he was nominated for two awards. The yearly panel featured Common, along with Nas, Colbie Caillat, and Salaam Remi.

Check below the break for a DOPE video of Common, Nas and Colbie vibin’ to “The Light!”

On being nominated for two Grammys…

“It’s always good to be recognized for your art…for doing something that you love to do. It’s a great feeling to be nominated for a Grammy. And also to be recognized by an award show that is still prestigious when it comes to music [means something]. A Grammy still holds a certain prestige about it. For me, even though I’ve received Grammys [in the past] I still feel honored when I’m nominated. It’s a good feeling.”

On the new album…

“I’m working with No ID and Kanye West. It’s a different sound frommy last album, We have some crazy samples in there. I’m working on some verses that might not even be 16 bars. You might not hear any hooks on these songs. You might just hear some scratches where the chorus would be. I’m really looking into doing some raw stuff.

Sometimes you go through some phases like…’this is what I’m on right now.’ I might be on some Euro word style music–that’s Universal Mind Control. I might be on some afrobeat slash soul-ful hip-hop–that’s Like Water for Chocolate. As like goes, you just have to express who you are at the time, whether you think the audience is there or not, you owe it to yourself to express it.

On the devastation in Haiti…

“We have to recognize that not all is going to change in one day. People are going to be in need for a while. So I’m going to continue to do things that will provide for the people.”

On J Dilla…

“I’ve never someone make music and do what he does, to create sounds that could be anything from the rawest hip-hop to something that sounds like Pink Floyd mixed with Radiohead. He would play some of the instrument also. I never seen a producer where other producers would have so much respect for. Everybody from Pharrell to Kanye to Questlove would be like ‘man, that’s my favorite producer.’ I actually think that music would be in a different place if he were still here. He provides so much inspiration to every musician.”

On Michael Jackson…

“Michael is the reason a lot of us wanted to be stars. I can speak specifically for me when I say that Mike is the reason I wanted to be someone important in the world. I’ve see an African American male winning awards and being celebrated. To me he’s the greatest as far as an entertainer goes. Hes’ the star. Hes’ the definition of a star. And then there are the things he did for people. There are things that we don’t even know about that he did for people and the way he treated people. He’s the prime example of what a star should be.”

AMAZING photos by Jati Lindsay. Please support and follow on Twitter.

When we look back on the career of Raphel Saadiq, we must place him among our generation’s greats. For almost 30 years, he has been pumping out amazing soul music, from Tony! Toni! Toné!, to Lucy Pearl, and from his own solo career.

On Monday, December 10th, the 9:30 Club was rocked by the sounds of Raphael Saadiq and Anjulie. The duo rolled in to DC’s venerable 9:30 club to support their solo projects, with Raphael’s The Way I See It still getting critical acclaim, and Anjulie’s debut album becoming a must listen for 2010.

First, let’s start with Anjule, who’s self-titled album is criminality slept on despite recognition by MTV and music critics across the country. The Canadian artist’s blend of pop and soul was a perfect opener for Raphael. Was the audience, steady filling up the 9:30 Club, ready for this blend? Maybe so. Running through tracks on her album, including “Boom,” “Rain,” and “Day Will Soon Come”, Anjulie and her band put on a solid performance. However, it was the song “” when the audience really got behind this budding singer. After her set, she hung out at the merch table all night, signing autographs and shaking hands with fans. She is not only stunningly beautiful, but very down to earth.

After a short break, it was time for Mr. Saadiq. Raphel’s set began with Marvin Gaye’s performance of the Star Spangled Banner blasting through the speakers, with his ultra coordinated band arriving on stage shortly after. Not only was the band dressed in matching black suits, but everybody in his crew was as well, including stage techs. It really shows his persuit to intimate detail and perfection.

As much as people say that the Motown revival is “played out,” there is something about the utter simplicity of the classic Detroit stage setup that still resonates with audiences.

And perfection it was. As much as people (such as myself) say that the Motown revival is “played out,” there is something about the utter simplicity of the classic Detroit stage setup that still resonates with audiences. No pyrotechnics or flashy stage setups here. Just music. The band, complete with full horn section, was completely on point, and for 2 hours, Saadiq and his band went through tracks from his latest (and maybe greatest) solo album, The Way I See It. What more can I say? The dude is simply good.

Raphel didn’t do an encore–the few minutes that he wasn’t on stage was more like an intermission, because after quick costume change, he was back for round 2, this time doing a medley of Tony! Toni! Toné! hits from the New Jack Swing Era. Girls went crazy over his rendition of “Lay Your Head On My Pillow,” “It Never Rains…,” “Whatever You Want,” and “It Feels Good.” You almost forget how many hits that this man has been involved with in the course of his career.

After wondering on Twitter if he would do it, the set ended with a near 20 minute rendition of my favorite Saadiq song of all time–Sky (Can You Feel Me). A perfect downtempo soul song. Even then, Raph was not ready to go, as he played two more songs after the supposed ender.

When we look back on the career of Raphel Saadiq, we must place him among our generation’s greats. For almost 30 years, he has been pumping out amazing soul music, from Tony! Toni! Toné!, to Lucy Pearl, and from his own solo career. His show on Monday night left me almost speechless. I’m kicking myself for waiting so long to see him in action. If he comes to your town. GO. Nuff said.

Photos by Tashir Lee.

To some Res is one of the best singer songwriters in Modern R&B. To others, she’s not yet a household name. However, to a small group of fans in Washington, DC last week, Res was the center of the world.

Fans packed the Langston room of Busboys and Poets to hear an acoustic performance and a Q&A with DC’s DJ Stylus Inside the Artists’ Studio, modeled after actors’ show on Bravo, sold out quickly, and the finale in the series was one of the best yet.

The setting was an intimate stage: Res starts off timid and slightly nervous but instantly gains control of the crowd. She’s almost shocked when people know her songs. The setlist included a mix of tracks from her classic How I Do, and her latest, Black Girls Rock. Her latest, seem more personal and focused than her previous efforts: Res took the guitar to play a song, Let You Go on a left handed guitar. “I’m too cute to cry all day, ” the lyrics go, “I wish you weren’t such a fucking waste of time.”

To some Res is one of the best singer songwriters in Modern R&B. To others, she’s not yet a household name. However, to a small group of fans in Washington, DC last week, Res was the center of the world.

In several songs Res rails against the industry that never was comfortable with her. On the Idle Warship track “LA Famous,” she talks about her frustrations with the handling of her image and the lack of promotion for her album.

And that was the bulk of her post performance discussion. Why did she not get the play that other stars received?

Discovered by Hank Shocklee, Res was on a world-wind path to stardom. The favorite in backrooms of the record label, her album, How I Do was greenlit and funded. Unfortunately, being a multi-dimensional Black woman causes issues for the label. “I’m a buffet type of chick,” she says about her music. “They didn’t know what department it should be marketed to.”

The discussion was intimate and candid. In response to a question about Nas’ verse on the track “Ice King she says “I didn’t like what he did” to gasps in the audience  “but truthfully everything ain’t for me to like”. She then goes on to tell the story about how she nervously approached him at Baja Fresh in LA. Came to the first show in LA.

Her Second album was never released, and was mirred in label drama. Frustrated, Res asked to leave and never got another deal. But don’t fret–the past 8 years Res has been living life, traveling the world and living on the beach in LA. However, due to public demand, she decided to release her latest album, the free Black Girls Rock.

All in all, Inside the Artists’ Studio was a great way for fans to connect with their favorite artist on a more personal level. At the end of the night, Res and Stylus took questions from the audience. “I personally believe people are ready to see Black people do different shit,” she says in response to one question, and its true.A few questions and several marriage proposals later, I can say that everybody in the room that night was ready for some “different shit.” Are you?

Photos by Boney Starks. Follow him on Twitter @boneystarks and please support.

Last Sunday night, Washington, DC’s Black Cat was graced with hip-hop royalty as Rakim took the stage, rocking old joints and new tracks from his new album The Seventh Seal.

June 3rd, 2009. As Wale stood on stage at Washington DC’s venerable 9:30 Club, an emotional rush came over him. The 25-year old rapper went from selling CDs out of the back of his car, to selling out one of the East Coast’s largest nightclubs. And with his upcoming release of his major label album, Attention Deficit, the journey of Wale has come full circle.

But it hasn’t been all roses for the MC. His album suffered multiple date pushbacks, Internet haters seemed to never go away, and people from his own hometown (aka The DMV) haven’t given him the respect that he deserves for putting the region on the map.

But all will be settled on today, November 10th, when his major label debut, Attention Deficit, drops to the masses.

Even though DC is steeped in go-go history, and has had chart-topping artists break from the area before, (think Mya and Good Charlotte to name a few), nobody has held the DMV on his back as much as Wale. The summertime hometown concert was his return to the area after months of national and worldwide touring. “It was great man. The energy from the crowd was crazy. It was kind of emotional,” Wale says as he speaks of that night at 9:30. “I remember going up Georgia Avenue selling CDs after work, or driving around in an 89 Camry trying to record, trying to do all the things that are necessary, and now I’m selling out shows.”

That show, which also included local MCs Tabi Bonney, Phil Ade, and XO, signaled a new direction for the DMV hip-hop scene. Once considered a no-man’s land by the industry, that night signaled a change for the local hip-hop scene. DC was on the worldwide musical map.

Wale has had an interesting history. Bred into a new hip-hop era of the Internet, the MC has had more tracks in digital form then most rapper’s complete career output. As for musical tastes, the MC has rapped over everything from go-go beats to French Pop electro. “I’ve always been a fan of music, and I’ve always been a writer, so I listened to everything man, even Kris Kross when I was a little kid growing up. Basically everybody with a microphone.” Even though Wale was a fan of all hip-hop, he really too a liking to go-go. “Rare Essence, Backyard Band, Chuck Brown, all of ‘em, “he says “I was 14 years old when I found out that go-go was only a DC thing. I thought that it was all over the world.”

It was the go-go tracks “Uptown Roamers,” “1 Thing About A Playa,” and “Dig Dug,” that got Wale the most attention in the DMV scene, the latter becoming one of the most requested tracks on local radio. However it wasn’t until a meeting with UK producer Mark Ronson that his career completely took off. “He heard my music, liked what he heard, and brought me on tour shortly after,” he nonchalantly says as he run down the spots in the UK that Ronson opens doors for him. With Ronson, Wale represented the DMV all over the world, from huge festivals in Australia to the BBC Electric Proms in London.

In addition to touring the world with Ronson, doors were opened for Wale and his band, UCB to tour the nation as well, spreading the go-go sound from Minnesota to California. “we hit 40 cities and the response was pretty good. But it’s not just the Wale sound, it’s the go-go sound, so I’m just contributing to the DC culture.” Highlights of the tour included a NYC date which was attended by his Roc Nation boss Jay-Z as well as Leonardo DiCaprio. The sold out show was a great moment for the DMV.

But with all of Wale’s success there are the haters. Ever since his career took off he’s had naysayers. They doubt his authenticity, as a dude from the suburbs trying to represent the inner city. They hate on his rejection of the “typical” DMV channels. And most people they are just downright jealous that Wale was given the baton instead of them. “Forget the haters man,” Wale says as he tries to dismiss the situation. Even though he was nonchalant in his interview, his anger and frustration about the lack of hometown love, from his lack of local radio airplay (and a stunt by WKYS mocking him), to the constant barrage of people hoping for his demise. “It’s all good,” he says.

After a career that spans almost 5 years and multiple major label quality mixtapes under his belt, it all comes down to his November 10th release, Attention Deficit. The album, which brings in everybody from Gucci Mane to Somali/Canadian rapper K’Naan, is the highlight of the rapper’s career. From the jump, Wale tried to craft an album that brought together his DMV roots with the mainstream production that gets radio airplay and wins awards. “I’m all about what sounds good, and if I like the sound its just a no-brainer,” he says about his album. As rappers like Jay-Z, Em, and Nas enter their 40s, the industry is looking to Wale to be the new torch bearer for the new hip-hop generation.

Attention Deficit drops today and whether you love him or hate him, you have to respect the fact that this is a great look for the DC area. He has brought the culture of the DMV from the back alleys of Georgia Avenue to iPods in Sweden. I’ll be copping multiple copies of his album. Will you?

Interview by Stone and KDotScribe

I know it sounds cliche, but Meshell Ndegeocello really needs no introduction. As a musician, her 20 plus years in the game have spanned it all. Honing her skills in DC go-go circuit, Meshell has been able to do everything from achieving pop super-stardom (with the John Mellencamp duet “Wild Night,” to the heights of creative expression, with albums such as Dance of The Infidel and Comfort Woman.

We caught up with Meshell a few days after her breakout performance at Washington, DC’s Black Cat. She is on tour to promote her newest album, Devil’s Halo.

Stone: So not that many people know that you’re from DC and you got your start from doing Go-Go bands. So tell us a little bit about that.

Well a lot of the bands originated from high schools, and just people around my neighborhood. When I started playing, it just started a natural development. It definitely affects how I play [now]. I’m definitely a groove oriented player. Go-Go is all about people moving their bodies, and it’s not about being showy. So, I definitely think it’s influenced my playing and how I construct grooves, It was an unusual time, a lot of violence around go-go, so I was definitely happen to get out of it.

STONE: So do you still follow the music?

It’s funny, I found some old Rare Essence recordings on iTunes, and I checked those out. And I get tapes every now and then. You know I think it’s funny, I believe it’s a music that can only exist in DC. It only works there and fits that frame of mind, you know?

KW: Can you say more about that “frame of mind” ? You know there’s Wale right now, trying to take Go-Go out of DC and bring it to everyone else? What do you think about it?

I wish anyone great successes trying to do anything. I don’t know when I say frame of mind, there’s this underbelly to the Washington area, that’s a little dark and seedy and hyper-sexual. And to me, when the music is really good, it maintains that grit and those forces, in my limited opinion.

KW: I have a question about your music making process in the last 15 years. What about your personal process of making music has changed in writing music and putting it together? I know the technological peace has changed a lot, but for you personally how has that process developed?

Well, I’m a child of  hip hop, so I have drum machines where I piece things together, but I happen to also play [instruments]. I sit sometimes and write on the piano. The process varies depending on temperature or location. There’s no science to it for me, I just try to get what’s in my head out through my hands and try keep it as simple as possible. I think the only thing that’s changed for me is I sing more. There are too many great MC’s and I never would lump myself in that box, so I definitely try to sing more, do spoken word or have a flow. That’s all that’s really changed.

KW: Keeping in that same vein, you know over the years artists definitely change and get better, and you’ve definitely established yourself as a successful artist, but what experiences have happened that made you a better artist or better able to put those thoughts and sounds from your head onto paper?

A lot of times the failures make me better. I love to learn from my mistakes–the best way to really improve upon things. I’ve learned to surround myself with better people. People who would love me if I was a car mechanic or something. Just the things that aid me in writing is just quiet time and space. A good home life, and good food. Simple living. I don’t do well in chaos.

KW: You and me both.

STONE: One of my favorite albums from you is “Comfort Woman,” I think it sort of marked a change for you musically, In my opinion, What were your thoughts in the making of that album?

I don’t know. I was up in Woodstock when I made that. I got to record that on a farm with chickens and horses and all kinds of things. I was just in a very good frame of mind. I also lived in Northern California before I came to record–a very quiet place outside of Oakland  in the redwood forests. I don’t know, I guess really in love with the greater picture of life and was able to take in all of the beautiful sensuous things–like with my eyes and mind. Just this really feeling of peace, plus it was right after September 11th–to have been in NY and experiencing that. I remember going back home and just totally checking out from the world. I had my own little world going on for myself and it was a very soothing place, but I had to get back to reality.

KW: In keeping with what Stone said, I think one of my favorite albums is actually Dance of the Infidel, I mean “wow,” I feel like people slept on it, but I love, love that album.

I appreciate that, thank you.

KW: It was kind of a change from what you were doing before, so can you talk about where you were when you made that album?

Well, I think part of being involved with Islam prior to 9-11 and having it be a big part of my life, then watching everything fall apart and seeing people do things that I was really ashamed of, and also doing things myself that I was ashamed of-it just really made me look deeper into my faith and myself. And what I used to tell people about the Dance of the Infidel record is that its improvisational music, because I don’t like the word “jazz”. There’s no regimen. Like if you read a verse your interpretation and feeling of it is going to be completely different than mine. Like if you play the melody and I play the melody, even though it’s the same melody, it’s going to feel different. And pretty much, that’s what I learned about religion and life, and politics. Everything is filtered through people’s experience, their beliefs, hurts and joys. And it comes out in different ways, but we’re not all meeting at the same place all the time. That’s why great writers are so important and rare. So that everyone can get the same thing from something. But I think that’s difficult to achieve as well, but it just really made me see world for what it was. And a lot of that music is just to express that and to also put a certain energy out in the world. Having an “alternative lifestyle” it made me ask myself why am I embracing a religion that won’t even accept me? And so, it was my gift to the creator, if there is one, because I’m also humble enough to know, like– I don’t know. No one does. So how about I just live a good life and do the best again, because without the devil and without God you only have yourself to blame.

KW: Well thank you for that, it is definitely a gift to your fans.

Ah, well thanks.

KW: But to move on to Devil’s Halo, your new album, I know the crowd was really feeling the “Love You Down” Cover, I think I was like 16 or 17 when it came out, but it was so awesome. Can you tell me how you came to reinvent this track?

Someone suggested that I do it, but whenever I brought the song up when I was playing it in my iPod and stuff, people would have a rush of memories–people would go, “Well I remember where I was when this came out or this happened to me when..” and it was just funny to see people’s reactions. So I just sat with it on my mind for a while and sat at my drum machine. I know it sounds weird, but I just wait for the transmission–and that’s how the song came out, if that makes any sense. I just wait for the transmission and that’s how I heard it. I love to deconstruct and destroy songs.

STONE: I wanted to talk about some of your collaborations. You’ve done work with Basement Jaxx and a lot of other outstanding artists. Do they approach you or do you approach them? What do you do to make those things happen?

Well sometimes, I just get a call. I’m lucky enough that people just call. I mean honestly people just call and want to work with me, and it works better for me. It’s more fun to work with people who want to work with you, I rarely go out and try to find people. I think the only person I went and asked was Kenny Garret, but otherwise people are kind enough to share their time and talent with me. And I just try to be a humble participant. I hope that makes sense.

STONE: That’s cool, it definitely makes sense. And how’s the studio process work for that, you always add your own touch to a lot of the collaborations?

Yeah, that just comes from environment and I listen to music all of the time. Not one particular genre or period, I just like music and I try to surround myself with people who play a different kind of music and will pass me off some stuff. I’m not like a surfer of the internet, I’m still kind of old school, so my friends give me music or pass stuff on. I ind out good things that way, so when I’m in the studio all those things are in my head. Things I’ve heard or when I get a feeling from a musician and they want to try something. And I’m definitely a person, that’s like if you hear something you want to try, let’s try and we’ll try it and it’ll be yay or nay. I try to have a no judgment kind of vibe, there’s no greater than or less than. Either it works and people feel it or you don’t and I just try to trust my instincts and make good choices.

KW: Okay, so the title of your album, “Devil’s Halo” I know you don’t often see those two words put together, so I think it’s pretty interesting how you juxtaposed them. Can you say more about how you came up with the title of this album?

Oh yeah, I think people forget that the devil was an angel, a fallen angel, who I guess gave into jealous–gave into his greater than/ less than ideas.  But I guess in life, at this age in life, I’ve learned that there is humanity in imperfection and imperfection in humanity and once you find that out about yourself and others, you’re a little more humble and accepting, and not so hard on yourself and others. So that’s what it means for me. And then the song is just stories about people–asking questions, trying to figure out love, be loved, feel beautiful, be lonely. The thing that connects all human beings is death, so I mean that’s what it all about for me–just a balance, there has to be a balance no one is filled with evil.

KW: You had the crowd buzzing with the “White Girl” song, I know it resonated with me for personal reasons, but there was quite a lot of talk about it after the show.

I guess people from the other album have a specific perception of me. But you know, I think Obama is the beginning of post race. All of that is in all of us. I don’t think one African-American here that doesn’t have something else inside of them. And it’s also a construct, a total, absolute made up idea–race. Plus, I’m in a interracial relationship, and I noticed [that] my so-called people were harder on me than anyone else. And that’s really difficult. That breaks my heart.

There’s this myth that white women are pure and stuff, but I’m just saying our feelings are and that’s what is most important, you know. The feelings you have towards another person and what you put out in the world and I’m hoping people get to the point of ending the idea of the other. And that’s all, plus it’s got a really cool beat.. and it’s hot the baseline.

STONE: We always have this question we have at The Couch Sessions, and this will be our final questions. Artists usually love it or hate it. What are your top 5 songs that you’re listening to on your iPod or your car–your top 5 right now?

Hmm. I love the Empire theme by Jay-Z right now, I know that’s kind of weird That’s my one. Let’ see what else am I’m listening to–there’s a group called Broadcast, not sure if you know them. And Kings of Leon, “You’re Somebody,” it’s like one of my favorite songs. And ahh…It’s hard one, I listen to so much different music. I just started getting back into Kraftwork. I don’t know if you’re familiar with them. Oh, and Black Milk. So that’s been in my rotation. And then a good a friend made me a killer playlist of like hip-hop from the late 80’s and 90’s so I’ve been rocking that Like OLD stuff. I’ve been really in that, so I’ve been in a real hip-hop state of mind, lately.

STONE: So what does the future hold for you? I know you just dropped a new album and you’re touring.

Just to go tour the record, meet new people, eat good food, make some new friends. I have a child on the way–in November. I have a son that’s going to graduate from college. Life is..I don’t know what to expect, I’m going to take it as it comes.

Devil’s Halo is in stores now.

West coast rap legend Warren G’s latest album, the independently released “The G Files,” was released this Tuesday. The album features the expected collaboration with Snoop Dogg, alongside a track featuring Raekwon and Nate Dogg (prior to suffering multiple strokes), and a number of collaborations with newer artists, an album that Warren himself calls “just great classic music.” I had the opportunity just this afternoon to converse with the “G-Funk” legend about the new album, and historically, some reflections on the success of rap veterans in 2009. Plus, there’s discussions of the legendary 213 collaboration with Snoop Dogg and Nate Dogg, the sample of Michael McDonald’s “I Keep Forgetting” for “Regulate,” along with thoughts on his success in the UK, his artistic motivations, the internet and his most legendary moments. We also touch on an update on the continuing recovery of Nate Dogg, and Dr. Dre’s eagerly anticipated “Detox.” Plus, we discuss Warren G’s performance of “Regulate” with Trey Songz at the recent taping of VH-1’s Hip Hop Honors honoring Def Jam, and his thoughts on Songz and the class of 2009. Clocking in at just under 20 minutes, do enjoy this glimpse into the mind of an absolute hip hop legend. I certainly did.

DOWNLOAD HERE

“I’ve been getting panties thrown at me so I can’t complain.”
-Mayer Hawthorne

It seems like Mayer Hawthorne came onto the scene overnight. The Detroit area (now LA living) fasetto singer’s soulful R&B songs went from experimental side project to gracing the lips of every music critic and blogger this year and selling out shows all over the world. His album, A Strange Arrangement, dropped last month, and Mayer and his band, The Country, are in the middle of a US tour, which rolls into Washington’s DC9 this Sunday. (Buy tickets here).

We chopped it up with Mayer on his influences, his stratospheric success, and his early life as a hip-hop DJ and producer.

You were known as Haircut, the DJ and producer for the Athletic Mic League before you were a singer, so what made you decide to become Mayer Hawthorne?

I was all Peanut Butter Wolf. He was responsible for turning Mayer Hawthorne from an experimental side project in a career. Honestly, I was very focused on hip-hop–DJing and producing. That’s what I wanted to do, that’s what I was in LA to do, and this Mayer Hawthorne thing was completely an experiment on the side in my spare time. I never intended for those songs to be heard by the public or released by a label. But when a label like Stone’s Throw ask you to record an album for them, you can’t turn that down.

I keep hearing of the funny story how Peanut Butter Wolf (aka the head of Stone’s Throw Records) didn’t believe that the songs you did were yours? What happened with that?

I met Wolf at a party in LA when I moved out here. I was introduced to him by a mutual friend of mine. I sent him the tracks but I didn’t think anything of it. At the time I was really focused on hip-hop. Mayer Hawthorne was the last thing on my mind. Wolf hit me back a month later after I had forgotten all about it and he said, “you know these tracks are crazy man, what is this?” And I told them that they were my songs, and he said “get the fuck outta here, that’s not you!” And after that he said “Holy shit, you gotta record an album for Stone’s Throw.” It was mad unexpected for me. All of this is unbelievably surreal. Nobody, including Stone’s Throw, Peanut Butter Wolf, and myself anticipated this thing would explode.

What are your influences for this record?

Obviously there is a lot of vintage soul: Curtis Mayfield, Barry White, Issac Hayes, Barry White and Smokey Robinson for starters. But there is also a little Smashing Pumpkins, and Stereolab, and The Police. Honestly I didn’t really put that much thought into [what influenced me]. I made those first couple songs for me to sample and to chop up and make hip-hop tracks out of. That soul sound was the kind of stuff I was sampling to make rap tracks at the time.

I know this is cliche, but how has the growing up in and around Detroit, and it’s Motown Heritage contributed to your image and music?

Growing up in the Detroit area, you can really feel that soul out there. That Motown influence is unavoidable. It’s really a huge part of the history there and people take a lot of pride in it.

A lot of people seem to be working hard to be a soul or R&B musician from birth, but it seems like you lucked up into the gig. Do you feel like you’re the odd man out in Soul Music?

My hip-hop background definitely separates me from other people that are making Soul Music right now, for sure, but I don’t even think about it, honestly.

One of the things I’ve noticed about this album is the way that you were able to craft that old school sound? A lot of music today sounds too digital and too polished. How were you able to do it?

That’s easy. I’m on an indie label with no budget. I used the cheapest shit available. I don’t even have a good mic, so I recorded my vocals through a pair of headphones. I used ridiculously low fi equipment, so there ended up being a ton of hiss and crackle in there, which gave it that vintage, low-fi feel.

I know you played most of the instruments on this album yourself, but how did you form your band for the tour?

I definitely played the majority of the instruments on he album myself. That’s a part of the fun for me. My band is comprised of all of my favorite musicians in the world. It’s a collective of my favorite musicians from Ann Arbor where I grew up, and LA. Seriously, if I had all the money in the world and I could get anybody I wanted to, these guys would be the people I would select. I’m spoiled rotten basically.

How has the response been on tour?

It’s been pretty overwhelming actually. We’ve been selling out almost every show and I’ve been getting panties thrown at me so I can’t complain. It’s pretty surreal.

What can the people of DC expect from a Mayer Hawthorne live show?

People are getting a show. A REAL show and not just a concert. We’re not just getting up there and playing songs. It’s like a Soul Revue. We’re working really hard up there on stage to make sure that nobody leaves disappointed.

Well, I’m sure that DC will show love.

Last time I was in DC it was fantastic, so I’m expecting the same.

Mayer Hawthorne and his band, The Country, perform this Sunday at DC 9. Buy tickets here.

We all know that the game has changed in the past few years. Instead of hustling demos and mixtapes on the street, we can do it digitally. Instead of hitting up DJs at your local radio station, you’re hitting up cats in Hong Kong.

In the past 10 years our lives have changed dramatically, and in actuality, I think that blogs, the Internet, and sites like MySpace, Facebook, and Twitter are a beautiful thing. It has allowed me to connect with readers from all over the world and find artists who would never even get noticed otherwise.

HOWEVER, there is a downside to Internet Marketing. Just like you get SPAM in your inbox, I and people in my position get hit up on the daily by hundreds of rappers looking for their big break.

Look, I can’t knock the hustle, but most of y’all are dong it wrong. DJ Eurok breaks it down oh so eloquently:

The funky rap promoter’s conventional wisdom at the end of this decade is to SPAM the announcement of a release, hope that the bloggers are going to wake up tomorrow and download a 140 MB ‘mixtape’, post a writeup by the afternoon, resulting in z-share hits going through the roof and every hip hop kid from Piscataway to Portland will friend them on MySpace and follow them on Twitter.

NEWSFLASH: THE GAME DOES NOT WORK LIKE THAT!

A hip hop release doesn’t go viral becasue a ‘top blogger’ posts about it. There is no way to plan to go viral. Posting in the comments isn’t gonna help either.

Things go viral when there is a groundswell of activity and communication known as buzz that permeates everything around the object. It takes on a life of its own, through consistency in messaging, presentation, branding, presence, social network, originality, innovativeness and QUALITY.

A DRAKE or WALE LEVEL ARTIST GETS NEAR A MILLION VIEWS IN A MONTH OR TWO OFF BUZZ WHILE AMATEUR RAP CATS ARE SCRAMBLING AND SPAMMING TO GET A  THOUSAND PLAYS ON THEIR YOUTUBE VIDEO.

(Meanwhile Virginia’s newest rapper gets more hits that both of em…effortlessly going viral with local joke rap – discuss amongst yourselves)

Artists, if you want to be in the game, COME UP WITH A MARKETING PLAN. Create a strategy to not only build buzz locally, but to define yourself in the marketplace, and put out a quality product. The Kid Cudi’s, Wale’s, and Drakes that you want to imitate had a plan in place WAY before any digital ink was spilled on them.

Again, I respect the hustle, but the deeper I get into this game, the deeper I realize what separates the artists who succeed from the artists just making noise. What camp are you in?

Seriously, read Eurok’s post. It’s like Music Promotion 101.

Little Dragon was on our side of the pond for a small North American tour, and DC showed them much love last Sunday at Liv. In addition to the multiple “WE LOVE YOU YUKIMI’s,” the fact that everybody knew every song in their catalog straight up shocked the band.

Last week, I got to sit down down with Swedish band Little Dragon before their amazing and much talked about DC Performance. The band talks about their origins, why Sweden stays winning, their creative videos, and opening for Q-Tip just one day earlier.

Much thanks to Remi at SHEWORKS Entertainment and Liv Nightclub

Bonus Video: Little Dragon Performs Twice

The only FAIL for the night was the presence of all the cops outside of the event. Really? Of course it had to do with the presence of lots of negroes in upper Northwest which is a shame.

The El Michels Affair – C.R.E.A.M.

I’ve been a fan of the “retro-soul” movement coming out of New York for a while. A New York bands–The El Michels Affair, which is made up of members of other instrumental soul bands Dap Kings, the Budos Band, and Antibalas, have made a name for themselves by working with such artists as Jay-Z, Amy Winehouse, Adele, and Iggy Pop. Now El Michael’s takes on its best challenge ever–Wu Tang.

The album, Enter the 37th Chamber, and obvious play on Wu’s Enter The Wu-Tang (36 Chambers), the band reinterprets “Can It All Be So Simple,” “Protect Ya Neck,” “Cherchez La Ghost,” and “Incarcerated Scarfaces,” and even includes Old Dirty Bastard’s “Shimmy Shimmy Ya,” and Raekwon’s “Heaven & Hell” in the 15 song lineup. Inspired by the best selling (in this market 7,000 copies is huge) 7” single for C.R.E.A.M., the El Michels Affair have created what might be the best Wu-Tang tribute album that has dropped so far.