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Kero One Interview

Kero One

Kero One

When it comes to DIY, it doesn’t get much more do-it-yourself than Bay Area born and bred Kero One. When he dropped his first album, Windmills of the Soul in 2005, he made it completely at home, charged up his credit card, released it on a self-made label, Plug, and became a hit when one of his original 50 copies found its way to Japan. Earlier this year, Kero One released his sophomore album, Early Believers, and I sat down to chat with him about his upbringing, musical history and thoughts on the evolution of the music industry.

AC: So you talk on Early Believers about your parents moving to the Bay Area. Where did they move from and was it a big culture shock for them?

KO: Well they came from Korea originally; and then they came here when I was… zero. Probably in 1978 or so. From what I understand, it’s a little bit different, of course, but you know, they adjusted. What I talk about on “Welcome to the Bay,” it’s just some of the experiences that I witnessed when we were in the South Bay growing up. I talked a little bit about that and also, I guess just a little bit about their adjustment in terms of, they’re used to a whole different lifestyle and obviously like different types of food and things like that. But, yeah, I mean, it was different, but of course they adjusted. And then we grew up in the south bay, and you know, I’ve obviously lived there for pretty much all my life.

AC: Whereabouts down there, San Jose?
KO: San Jose, Los Gatos, Santa Clara
AC: So how has your family played a role in the music that you’ve created?

KO: Well I’d say they made me take classical piano when I was really young, so, in the sense of being forced to take piano lessons, that was a pretty big role because, even though I hated it back then, I’m pretty thankful for it because I use it a lot in my music now. And other than that, not that much because really, they didn’t push me to do music; I mean, they’re kinda traditional Asian parents in the sense that they wanted the more, “education thing is a big deal,” and going to a good college and getting what they understand is a good job, whether it’s an engineer or doctor or something like that. So, they were really pushing for that, and, you know, honestly, when I told them I was rapping, I mean you can guess what their reaction was. Which is understandable, I guess, but now they’re fully supportive.

AC: You talked about learning classical piano. That was maybe the first of many instruments you learned; did you go on to learn any others, or was that the only formal training that you had?
KO: Yeah, that’s the only one I had formal training in, and I did that for 10 years almost. Technically it was probably like five years because the other five, I was kind of not really there. I hated classical music, but, when I was in middle school, I was really into punk, and I got into Primus and a little bit of rock like Red Hot Chili Peppers, and we all know, Flea and Les Claypool, ridiculous bassists. That inspired me to pick up the bass, and I started messing with the bass a little bit. So, other than that, it’s just bass, piano and I play a little bit of percussion; so those are my three things right now.

AC: Do you spin?
KO: Yeah, and I DJ as well. I got into scratching quite a bit when I was in college, so I was into the whole turntables thing, try to beat juggle, flares. I DJ out mostly in the city, one off events and sometimes I go out and DJ internationally, but, yeah, right now I’m just trying to focus on the live stuff.

AC: Do you play your instruments live in concerts?
KO: Well, actually for the last show, what we did was I incorporated a little bit of live keyboard and a little bit of live drumming, but something that I’ve always wanted to do was play some instruments and rap at the same time ’cause I’ve never seen anybody really do that. I’ve seen people sing, but not really rap, so that’s what I’m gonna be doing on my new show; just a little bit of that, and incorporate, I got a guitarist, I got a singer, and so we’re definitely bringing in like the live element to the live show, ’cause a lot of the stuff on my album is actually played out, it’s not samples, so it seems pretty natural to have live instruments.

AC: Out of all those instruments that you’re playing, which one are you enjoying playing the most?
KO: I’d say probably the keys. I’m not stellar player in any of the instruments, but when I do play the keys, it’s definitely fun when you can come up with a nice chord progression or some good solos, I’d say the keyboard.

AC: So you were talking about Primus, Red Hot Chili Peppers; what are some of your other musical influences and what are you listening to now?
KO: Man, I pretty much am influenced by everything from Mobb Deep in the early 90’s to John Mayer to Daft Punk, I listen to it all. Probably the only thing I don’t really get influenced by is country — I mean everybody says that, right — country or like folk, or something, or obviously classical music. But yeah, I listen to pretty much everything; like I grew up listening to really being into the early 90’s hip hop stuff, classic stuff.

AC: What was the first rap album you really got into?
KO: I’d say probably LL Cool J, Radio — I think that was the one. And then the BDP (Boogie Down Productions) stuff. So, yeah, BDP By All Means Necessary. And then for me, you know, I listened to that era when that came out, and then I went back to study other artists. Then, you know, from there, just expanded to Rare Groove and Soul and other related genres.

AC: So your initial album kind of made its break in Japan.
KO: Yeah.
AC: I’ve followed a number of hip-hop groups from Japan, but what would you say about the scene and the culture over there in the industry in terms of hip-hop?
KO: Well, definitely the culture plays a large roll, in the scene of hip hop over there because their culture, as you probably know, is very intense in terms of studying and breaking things down. I mean, when I was watching TV, and they were talking about, Indian Curry, I mean I was just watching from the hotel room and they were Japanese chefs, climbing barefoot on trees in India with the Indian guys there, to show this is how they do it, this is where they get it from, this is what it looks like and what it smells like, and they’re like breaking it down. I mean, that whole mentality is just kind of standard to me out there. They do that with hip-hop, and out there I learned more about music than I ever have in that short amount of time, ‘cause they know hella information, I mean, all the good music somehow just gets funneled over there and they have it at stores, the people who sell music are super knowledgeable. I basically discovered all these artists from the UK, from Europe, in other parts of Asia, even the States, out in Japan, you know. It’s really weird. I think because of that, they’re able to push the envelope a little bit. It’s definitely on another level out there, I think, in some ways.

AC: Did you pick up any Japanese hip-hop that you really liked while you were back there?
KO: DJ Mitsu is part of a group and I picked up their albums. I picked up a few instrumental albums out there. When I go out there, usually the labels will give me like a stack of CDs, so there are a couple CDs in there that are pretty dope. But yeah, definitely. I’m always getting new music while I’m out there.

AC: What’s been the most enjoyable part of the transition from web design and tech that you were doing to producing your own albums?
KO: Not having to listen to the boring meetings. I used to fall asleep in those meetings, you know. A lot of times I’d be at work, I’d be thinking about labels, music, I’d be stepping out very frequently to do maybe a press interview in the UK or whatever and since it’s international, you can’t miss that call, and so, you know, I gotta get up and go out and people probably started wondering why I was leaving so frequently. I still actually do a lot of web design now for my own stuff, so I haven’t strayed away from that too much. I hope to soon, but I don’t really miss the technical stuff that I need to learn, you know, just for that company; so now I can do whatever I need to do fix the public website or update the Kero One website or things like that.

AC: Have you retained or used anything from the job in actually getting your music heard?

KO: Well for sure in the sense those skills, I can apply to making websites, making them a little more functional, adding a little bit of interaction with it, like for example a mailing list, or something like that, whereas, you know, if I didn’t learn all that stuff, I’d probably be just a blogger or something, which is fine, but, for me, I’ve been able to take advantage of that. For example, I’ve pretty much configured our whole webstore on the website and now people can purchase things online. So, yeah, in that sense, that’s helped me a lot; so I definitely can’t ignore that.

AC: One of the lines I like from the new album is “wearing so many hats that your hair is concave.” So what’s been the hardest part of the scenario and trying to do it all for your label from rapping and producing your own music to being the label head?
KO: It’s definitely prioritizing your time. I had a PDA phone, which really kept me in check, but prioritizing time and figuring out where things need to be is probably the biggest challenge and now I have employees. Being able to stay on top and make sure that they’re being managed and they’re getting tasks done definitely takes up a lot of energy, but I think it’s definitely part of the grind, It’s a learning experience; I’ve learned a lot about the business. I’d say that another challenge is that I don’t want to take the business side to kind of supersede the creative aspects of my life, like the things I’m trying to do musically, I don’t want them to get pushed out of the picture, so lately with employees and things like that, it’s been helping out a lot, but there’s nothing without challenges.

AC: This whole album is full of really jazzy hip-hop, a lot of jazz influence on it; what was the approach that you used to make these songs and was your intent to go that heavy with the jazz? Was that something you wanted to do?

KO: You know, it’s really weird, I always get that comparison out and get told that it’s very jazzy and I guess I’m not ignorant to that fact, but I don’t actually say I’m gonna try to make it like this. I just usually try to go with what I like and just want to make something I enjoy. For some of the tracks, like “Love and Happiness,” which was produced by King Most, I mean, he just played me a bunch of beats, but when he played that one, that jumped out. I was like “Dude, that beat is ridiculous. I’m gonna have to add that.” So, you know, it wasn’t really a conscious thing to make it like that, but the other approach for this album was that, as opposed to Windmills, I wanted to give a little more diversity in terms of the tempos, the arrangements, I’m bringing in different Soul artists and features and just make it a little bit, I guess, less heavy. Because the first album, Windmills, was very personal and there were a lot of things on there that were very sexual. I mean this one, even though I put that in there, I also wanted to balance it out with something that’s a little fun, tracks like “Keep Pushin’” where you could have people dancing to it. I really wanted to keep it diverse.

AC: Your music sounds pretty complete in terms of the concepts that you have behind it, the musical ideas that you’re trying to bring into it. What are your thoughts, then, on the burgeoning remix and mash-up cultures?

KO: I’m really down with it, actually. As a DJ, I love finding music to remix or mash-up anything because I like to play songs that, even though they may be popular, ’cause they get people dancing, and they get people into the groove, it’s always nice to throw a curve ball at them, you know. I’m all about remixing stuff. I’ve done a few myself; I did a remix of Common’s “The Light.” DJ King Most, whom I worked with, we released some of his remixes for the DJs, and so it’s something that I’m definitely into playing. I don’t do that many in terms of, you know, taking well-known a cappellas and remixing them, but I do like projects here and there that are commissioned, I did a Talib Kweli remix and I’m working on a few Asian artists right now that I’m remixing, this group called Epik High.

AC: What do you think of making your stems available?
KO: Oh, for other people to remix.
Well, I have had a few a cappellas out there for people to remix, and I’ve gotten a few back. As far as stems, as in actual parts, not really, I’m not too into that. I feel like a remix should be like a regenerated or a totally new look at the beat and the project and the vocals. Otherwise, there’s no point to me.
AC: Between the record labels, the MP3s, the file sharing, where do you see music now, and where do you see there being a nice meeting place between consumer happiness and artist revenue?
KO: It always makes me a little, um…I don’t know, it’s like a mix between a chuckle and frustration when I hear people saying, on the blogs or whatnot, that “artists need the exposure and that’s why we’re gonna file share.” I mean, come on, that’s like complete BS. Honestly, for me, I’ll admit, I have downloaded illegally and when I have done that in the past, it’s just ‘cause you want the music, you know, it’s not any of the other stuff. I mean, it’s something that’s gonna be free and it’s gonna be in front of your face and most of the time, people will just take it. So, I don’t think it’s the people’s fault out here who want music; it’s the fault of the government and the regulations that aren’t being pushed appropriately on the internet.
For example, when we released Dream Talk, The Tones album, that released and it was at the top 50 of iTunes downloading, and then, a couple days later, all these blogs started showing up with the illegal download links for the albums and, in the dashboard you could see that the sales just plummeted. Right on that day, they just plummeted. And these kids, they’re hungry, and they’ve got mouths to feed, they’re trying to do music full time, so it really makes it tough. Of course we’ve got a team working on it on the security side, but it would definitely help, if and when these government regulations come into place that it kinda polices the activity out there, because, contrary to popular belief, artists do really get hurt by that. Maybe not a Kanye West, for example, but independent artists definitely don’t get to see that kind of return.
I think in that sense, I guess I could see the other side of the argument that, yeah, people have discovered a lot of great music through that as well. When I went to tour in Poland, I had people come up to me, and was like, “yeah, I’m sorry, we all downloaded your music illegally, but there’s no other way we can get it, we’re poor,” and all this stuff. Whether it’s true or not, they were there at the show and I see both sides. So, I think, back when albums were being sold for 10 dollars at Warehouse or whatever and there was nowhere else you could find that, I think a lot of people found out about those albums. I mean, when Nas or whatever came out in the 90’s to Berkeley, that show was packed, and it’s not because people got free music necessarily, it was just ‘cause they heard it on the radio and then they went and supported it and they got real’ into it, ‘cause really there was no real file sharing then. So, I think even with clamping down on illegal file sharing, things can still be really good, but we’ll have to see. We’ll have to see what happens; I really can’t predict it.
AC: Have you seen more of your revenues and artists from iTunes sales or from hardcopy CDs and shows
KO: I would say, probably from iTunes sales. CD sales have just dropped, like, pretty crazy. Though we still get a lot, you know, but it’s a lot slower.
AC: Have you started working on new songs already?
KO: No, I haven’t. I mean, I’ve been working on some remix projects, like I said, with the Korean group Epik High. I’m also mustering up some ideas on another project, but I haven’t actually started working on anything. I always like to release something and kinda reset and kinda figure out what I wanna do.
AC: So what’s up next for the Plug Label?
KO: Well obviously this album we’re gonna promote. We’re still promoting the Dream Talk album. I got a project comin’ up with this guy Green Tea, he does kinda like hip hop, kinda house beats. And then we got DJ King Most, who’s releasing a hip hop album with a bunch of guests. We’re gonna try to keep busy and really take it to that level of being an established label.
AC: How’d you connect with The Tones?
KO: Well The Tones, I actually heard about them on Myspace a while ago. I forget exactly how it happened, but we started chatting and then they had a couple tracks together, but not a full album. I liked what I heard; I mean, I knew that they had something special in terms of their sound, and so after a few chats, I signed ‘em and they basically simply got a full album together and then we went from there. And then we released that album in December!
AC: Yeah, that album’s good. It’s really good.
KO: Thanks. Yeah, I’m sure they’ll appreciate that. It’s interesting because I knew that, it’s definitely a good sound, I just didn’t know how impactful it would be in the hip hop community, ‘cause I guess a lot of people in the hip hop community really wanted to hear something like that. So, yeah, it’s pretty cool that they’ve been received that way.
AC: I think as pop hip hop goes further south in terms of quality, I think there’s gonna be even more of a backlash going the other way to find quality hip hop. Do you want Plug Label to be your side thing, and you’re doing music? Or do you envision Plug Label getting to a place where it’s up there with Stones Throw or Rhymesayers, or do you want to keep it small?
KO: I’d say I want to keep it small in the sense that everything that we put out is still hand-picked and not just to throw it out there, you know, to have a full release schedule. If we have to wait six months for a good album, then we’ll wait six months before we release it. I just feel like the more and more that we add to a catalogue and the more and more I compromise the vision of it musically, I feel like that’s where I’m gonna start losing interest in the label, and others will probably start losing interest because really, the problem I see right now is there’s too much information out there, you know, too much music, and I really wanna be able to kinda like consolidate that to people. That’s my vision, you know. So we’ll see what happens.

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Illa J Interview

Illa J

Illa J, the younger brother of hip-hop legend J Dilla, has stepped out on his own into the world of music with last week’s release of his debut album on Delicious Vinyl, Yancey Boys. I had a chance to catch up with Illa J last week and discuss his musical influences, working with Delicious Vinyl, making a recording studio from J Dilla’s equipment, and the importance of originality in music. Here’s what he had to say.

AC: What were you initial musical influences and where do you find most of the inspiration for your work?

IJ: Growing up, the first music I ever listened to was jazz. My Dad would always be playing the Manhattan Transfers and the Four Freshmen, so I got into it early. My early influences were Al Green, Marvin Gaye, Sam Cooke, Stevie Wonder and a lot of Soul early on.

AC: Is it true your parents were in a jazz a cappella group?

IJ: Yea, they had their own group. They used to practice in our living room at home for hours and hours, and that’s how I got my musical ear, because they sang so much I had no choice but to learn all the jazz chords.

AC: Talk about growing up the younger brother of one of hip-hop’s most well known producers. How did this hurt you and how did it help you?

IJ: I don’t think it hurt me in anyway. If anything, people because of that, the first thing they want to do is compare me to my brother. Honestly, I don’t even think about that. When I’m in the studio, I’m in the zone, it’s all about the music. At the end of the day, I was brought up around nothing but music and that’s in my blood lines. In my immediate family, pretty much everyone sings and everybody writes songs and are musicians, so it’s pretty normal in my household that someone can sing or play an instrument. So it’s really no pressure to me, I’m just doing my thing, having fun.

AC: So when did you first start formally performing in front of audiences and when did you actually make the decision that music was going to be your career?

IJ: I always knew from a young age that I was going to do music. I’d be in front of the TV, a video or something would be on and I’d act like I was singing, and I’d always be singing around the house. I always knew I was going to do music, I just didn’t know when. And after my brother passed, when you have a big loss like that, a lot of people when they have big losses, in a sense it gives them a whole new perspective on life. That’s what happened with me. To lose my bigger brother that soon, cause I didn’t expect to lose him at 32, that definitely changed my life from that day on. I knew before that, even midway through college, I kinda knew I was going to work in music, but after he passed, that’s when I dedicated my life to music, just do what’s in my blood, do my craft, and that’s pretty much how it started.

AC: I read in another interview you did that you liked Los Angeles because people were always getting stuff done. Do you still feel that way about the city and what in your mind stands out as the brightest part about LA?

IJ: Not necessarily getting things done… people get stuff done in Detroit too, but right now, Detroit is kinda crazy, especially with how the economy is. Out here, I feel that it’s a whole new city for me, and I feel a lot more relaxed. When I’m in Detroit, I feel that there’s a lot going on and so many distractions, but when I’m out here, I’m free to just stick to my craft.

AC: In terms of music that you created in Detroit vs. music that you created in Los Angeles, do you feel that there’s a big difference there in terms of what you’ve done with the different atmospheres?

IJ: Out here, I really got the chance to practice in the studio. Back in Detroit, at that time I didn’t have a studio, so I didn’t get the chance to be in the vocal booth to practice. I recorded a track in the studio with my brother when I was 13, but other than that I hadn’t recorded anything. When I’m in Detroit, I have a whole different mind state. In Detroit, it’s almost like walking down the street you’re watching your back every so many minutes. People can tell that I moved out here because I’m a lot more relaxed than I was in my music. When I first started recording, I was a lot more aggressive because in a sense it was like I wanted to get out. Now I’m a lot more relaxed in my music, and you can feel that I’m just letting go, not really forcing it and letting it flow in a sense.

AC: I heard that you built your own studio out in LA using your brother’s equipment. Talk about that studio, what of his equipment you’ve used, and how that process has worked for you.

IJ: I have my brother’s Digidesign Pro Control board, I have some of the racks, his C12 mic, and his MPC 3000 and of my own, I have a Motif and bass guitar. I’m working on getting another guitar and a drum set. (7:10)

AC: You’re signed to Delicious Vinyl which is known for producing some of the most well known hip-hop of the early ‘90s. Talk about your introduction to Mike Ross and what joining Delicious Vinyl was like for you.

IJ: The first time I met Mike Ross was in ’06 and the next time I met him after that was in March ’07. Around that time is when he gave me a CD with 38 tracks on it that my brother produced from ’95 to ’98. These were tracks that he was making while he was working with Pharcyde and also just doing remix stuff, Delicious Vinyl puts out a lot of remixes. Pretty much, at that time, he told me to just pick a track from there just to see what it sounded like because he was going to try to do a compilation of various artists that worked with my brother.

The next time I talked to him after that was in January of ’08. I was hitting him up cause I wrote this song and I was like, “You gotta hear this song.” At that time, I wasn’t even thinking of making an album with Delicious Vinyl, I was just gonna see if he could help me out in a sense and get out there and try to jump start my career, I just wanted him to hear the song. At that time I didn’t think I was going to do an album with him. He came over in February of ’08 and I played him the song on the Motif and he was like, “I like your voice,” and he wanted to hear some more joints, so I played him some more and he had me perform at this club a couple days after that, and it just happened to be on my brother’s birthday, February 7th, ‘08. After my performance he came up to me and was like, “You killed it, why don’t you just do the whole album?” That’s pretty much how the album started. As far as working with Delicious, it’s definitely dope. Pharcyde is one of my favorite groups, so I’m in the office looking at Pharcyde and Tone Loc and it’s funny to see my album up on the wall with them. Especially Delicious being where my brother kick started his career, it’s almost like everything came full circle.

AC: You mentioned the CD that Ross gave you with all the tracks your brother did from ’95-98. What was hearing this CD for the first time like and when you heard it, did it give you a specific idea of the direction you wanted your album to go in?

IJ: The first time I heard it, I had never heard the tracks before, and I really got a chance to listen to them, they really connected me back to ’95 as soon as I listened to it. It reminded me of the days that I’d sit on the stairs listening to my brother make tracks in the basement, and the sound he was making at that time. I was nine years old, so in a sense I had an instinct for what I wanted to do over them. They also have a lot of jazz chords, and that connected to me well because I was brought up on Jazz first so the minors, D7, changes, things like that I’m used to, so automatically I had a connection with the tracks and they fit my song writing style too. At the end of the day, my brother, even though he could write too, he was known more as a producer and I see myself as a singer/songwriter first before anything.

AC: Let’s talk about Yancey Boys. What was your vision for this album when you started and what was the process like in working on it?

IJ: For one thing, when you listen to the album, you hear the theme of time throughout the album. That’s because the original title for the album was going to be Timeless. I kinda wanted to make a timeless album, for example, so many of the old albums, Off the Wall, or Prince albums, when you listen to their stuff, it was made way back in the ‘80s and it’s still relevant today when you listen to it, you know what I mean? I didn’t want to necessarily try to make anything for the radio, cause there’s not really a single on the album, it’s an album, one complete piece of artwork. The tracks were from ’95, but I’m recording in 2008, so that connection and the fact that the music was still relevant today, that’s the tip I was going on. Mike Ross, he liked the Timeless idea, but he was like, “Yea, it’s timeless, but it’s so much more than that too,” cause he was really feeling it. When I would do shows, and my production company, to pay tribute to my brother and my family, I called it Yancey Boys. He was like, “Why don’t you call it Yancey Boys?” and it didn’t take too long to think about I was like, “Yea, that’s pretty dope.” And we went from there.

AC: What I like about this album is how laid back it is. You sit back and nod to it, you never feel overwhelmed by the album. Would you say that that’s a product of your personality, or were you specifically aiming for that and you see future albums going in a different direction?

IJ: Well the album is definitely laidback. One thing about this album is that when I wrote to it, as a songwriter, the music came first. So the beats and the tracks already had a laidback feel to it, and as a writer, it’s my job to let the music speak to me instead of me just writing my ideas over the beats, let the music speak to me because the tracks were already done.

AC: What’s your favorite track on the album and why?

IJ: My favorite track on the album is “Timeless.” On my Myspace page, I have joints on my page, but that was only stuff because I had nothing else to put up at that time, and I wasn’t going to put up my really good stuff on my page, so I just put up joints to keep stuff moving. At that time, I didn’t know if people were ready to hear where I was really going with the music because this album is really a true representation and my intro. This is truly my introduction and music that I feel represents me. “Timeless” was really an expression of me as an artist. It’s so full and the chords bring out the emotions, and that’s what I liked about it for me when I was writing it.

AC: There’s 14 tracks on Yancey Boys and you said you had 38 on the CD from Ross so are we looking at more albums in your future with other songs produced by your brother?

IJ: Maybe, it all depends on the track. A lot of people think that I just went off this with a lot of Dilla beats and was like, “I’ll do an album.” But I was actually working with other producers and was producing myself. I’ll only use my brother’s tracks if I feel it’s right. It’s gotta be the right track. I know that when he was in studio making tracks, even if you were in the studio with him, if he played a beat, you could like it or whatever, but it didn’t necessarily mean he was making that for you, he might just be making that for himself. I know my brother. By me doing this album, it means that I know my brother would be cool with it.

AC: We talked earlier about your initial musical influences. Who in the industry today, music wise, do you look at as a true talent?

IJ: Definitely Amy Winehouse. Her album, Back to Black, inspired me a lot. That album, in a sense, is timeless. You can’t really fit a particular era to it. You could play it way back in the day and it would still sound right.

AC: How do you see the current scene in hip-hop, what do you think is good about it, and what in your mind needs to be changed?

IJ: My main thing is pretty much when I was growing up, the artists I was looking up to, my favorite thing about artists was how unique his voice was or how unique her voice was. It’s about originality, being original. When Busta came out, it’s like nobody sounds like him, he’s got his own style. As long as it’s about being original, it should alright. At the end of the day, you can only be the best you you can be, I can only be the best Illa J, just like my brother is Dilla and he can only be Dilla, that’s him. As an artist, you can’t be afraid to be original, take a chance, and when I think I’m going super left field, at the same time, who’s to say how far you can go?

AC: One last question for you. I read in another interview that you would have liked to work on Michael Jackson‘s Off the Wall album. What album in the hip-hop genre would you have liked to have worked on and what album in your opinion stands out to you in terms of “greatest of all time?”

IJ: I kinda wish I had been working on it when my brother was making Welcome to Detroit. Also, his work with Slum Village.

AC: Anything you want to plug? Upcoming concert dates, releases?

IJ: I’ve got my release party out in Cali at the Little Temple in Santa Monica. That’s November 20th. I’ll be touring soon and check out my myspace page… Myspace.com/illajmusic. The album’s out in stores, go cop it.


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