Posts Tagged ‘Rittz’

The legitimate production crew or group, as opposed to the group of producers who work individually (eg DITC), is not an¬†aberration¬†in rap music – Organized Noize, Neptunes, Block Beataz, Earthtone III – but it’s not all that common either. ¬†Even less common is getting to hear the group really let their hair down and make music for themselves without serious commercial aspirations getting in the way. ¬†Earthtone III was mainly concerned with producing their own work and that of a few other Dungeon Fam rappers, N.E.R.D. made some great music, but the charts always seemed to be an aim in one form or another, Organized Noize’s closest attempt probably came with¬†the historically snoozed upon Sleepy’s Theme album¬†Vinyl Room. ¬†In many ways Vinyl Room might be a reasonable sonic ancestor for¬†iNDEEDFACE¬†if Sleepy’s Theme had been into psychotropics and irreverence.


iNDEED “Black Tears”

When iNDEED dropped the¬†iNDEED¬†EP, earlier this year, I made the remark in my¬†review¬†,of the also 5PMG produced¬†Paraphernalia¬†album from Burn One & SL Jones, that the EP begged consideration for album of the year despite it’s short length. ¬†Although the EP was an excellent introduction to the members of Five Points Music Group as a standalone band, the “album of the year” contender comment was probably a bit hasty for a seven song EP. ¬†What the seven song EP did display was the ability to make great individual songs, often in completely different styles, from the Neptunes-esque “More Than a Dance” to the pimp meets mosh-pit “Brass Knuckles,” to the RZA influenced “Black Tears” to the trademarked straight-up 5PMG sound on “The Pinkpather.” ¬†What the EP didn’t quite make clear the direction or vision of the band: Would iNDEED have a frontman or just rotate singers and rappers in? Would they have a signature sound or be more like a stylized hip hop interpolation band? ¬†What was clear was that they could make great music and that they had a lot of fun in the process. In typical tireless DJ Burn One fashion, iNDEED is now back just a few months later to bless us all with a full length project to show a more fully realized vision of precisely what it is that they have to offer the music world.

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“Sleep At Night” Rittz featuring Yelawolf

Recently I sat down with Rittz to talk about his approach to song writing, the reasons behind his re-release of White Jesus, his relationship with DJ Burn One and the 5PMG production crew, Yelawolf, 8Ball, and what’s next for him. ¬†If you haven’t checked out much from him yet, I definitely recommend picking up the White Jesus: Revival album/mixtape, which is a great introduction to his work. ¬†

JB: For those that don’t know, talk to them about Slumerican. Who’s on the label and what you guys are about? ¬†What sets you apart from other labels?

Rittz:

Well you know honestly, as of right now, Slumerican isn’t really a label. ¬†Basically Slumerican was an idea that Yelawolf came up with. ¬†You know when I had first got in contact with him, he had talked to me about wanting to do something with me and building up a crew. ¬†You know when he had dropped Trunk Muzik, Slumerican just ended up being the name of the crew that we had. ¬†At one point I think it was going to be label, but I think he just got wrapped up as an artist. ¬†I think he’s still exploring that option, but really Slumerican is just a family man. ¬†It’s really Yelawolf started that shit, so it’s really Yelawolf, myself, Struggle, Shawty Fatt, that’s it as far as rappers go. ¬†There’s a lot of other people that aren’t emcees that are Slumerican too that are just skateboarders, DJs, just friends man. ¬†It’s more like a crew as opposed to a label right now.

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“Dope Man” – SL Jones & DJ Burn One

SL Jones is an emcee who’s continued to develop over the past half a decade. ¬†Many listeners first became acquainted with him, along with Pill and others, as a part of Killer Mike’s Grind Time Rap Gang on¬†I Pledge Allegiance to the Grind¬†back in 2006. ¬†Since then he put out a stellar debut album back in 2008 with¬†C.O.L.O.R.S. and has dropped some stellar mixtapes/street albums over the past year including two versions of ¬†The Number 23¬†mixtape, a free album¬†Flight Risk, and a set of songs over Clams Casino instrumentals on Pandamonium: Rainforest EP Remixes¬†(all of his material can be downloaded for free via Jonesy’s¬†bandcamp). ¬†While Jones has a lot of quality material out there, and has set himself apart as one of the south’s up and coming artists and the biggest name repping out of Little Rock, Arkansas, he – like mentor Killer Mike – had yet to work on a whole project with one producer until this most recent project.

Enter Atlanta’s DJ Burn One, a producer who has become one of the most sought after names for southern artists looking to create music in the legacy of greats like Organized Noize and the late Pimp C. ¬†While there are a few other purveyors of fine country rap tunes out there, there are none currently doing it with the consistency and musicality of Burn One. ¬†While K.R.I.T. certainly has an argument to dispute that notion, Burn One’s work with live instrumentation with iNDEED has really taken his technique to the next level recently. ¬†Having produced for the likes of Freddie Gibbs, Pill, G-Mane,¬†A$ap Rocky, G-Side, Bubba Sparxxx, Young Buck, Jackie Chain, Rittz, KD, and Starlito it is only a matter of time before DJ Burn One becomes a household name and a full on force in mainstream rap production, especially as the desire to revisit and progress the sounds of a bygone era continues to become more prevalent, as we’ve seen over the last couple years with the likes of SpaceGhostPurrp and Raider Klan affiliates like Lil’ Ugly Mane and others. ¬†As powerful as Burn One’s work typically has been, he’s at his best on full length projects. ¬†His work producing entire projects with iNDEED, Starlito, and¬†G-Mane¬†has proven his ability to create and direct great albums behind the boards. ¬†In years past those projects likely would’ve already earned him the honor of executive producing albums at a mainstream level, with one label or another, but with the industry more focused on the single than ever, and a higher and higher percentage of the best full length projects being given away via bandcamp, datpiff, or livemixtapes Burn One remains appreciated as an industry tastemaker for his ability to locate and work with promising new artists, but under-appreciated (or at least underutilized) by rap’s mainstream for his abilities behind the boards. ¬†However, if 2012 continues the same way it has begun for Burn One, that is likely to change quickly.

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