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V\y ir Lit'ltlo t\e nicert acoqnd Roqnd \erer dovn \erer na\, ve keep it pinpin'dovn \ere
V\y did ttori. 1.1 ;\orty rock t\e c\ain and \e knev I var dovn And f teet itl abit o€f t\e pat\ of a player
Uhy cUctr 9et avay e;f\ ringing otf-key 5o kadaddy 5oclt gon' intervene and pcererve t\e 5oqt\ecn 4ene
Vhy do ca* only got one bangee on they v\ole C0 V;o gve a dann'boqt v\o rqnnin't\e 5outhern region
Utty 1 do ;6 ;r'Xny \ook for fcee? Ue all eatini ain? no need foc beefin'
Cooe fo tUnk aboql i|, lvfta catr ain? retqrn the tavor to rte And 1 knov tUr ain? ny buine* but I
just don't see t\e logic
Vlry dqd"t get deal; v\en they loctel qp T\at'r o"'e peiiy 4,it for tvo pinp nigg?t nov y'atl need h 4larh it...
Bqt t\e label dcop a cUck vhen r\et knocked qP Nov
'nanr
Ii
vilting fo bet Bi99ie and Pac prob'ly rolling in t\ey graver
U\y +\.r. fappefr keep dreging t\e 4r're 'Caq* oqf dqab atse: ain? leaen tron t\ey n'rtake;
Vhy ry baby daddy said J'rrr t\e \otfe* cUck in t\e ganre 5o I'nr,a nediate iutead of tcyin' to ;ufigate it
U\y il. girl v\o gave bcain getr inteevieved T\ere'd be br nigg?6 dead;t t\ey jcrt corrnunicated
Bt* t\e artisb nakins ,$!er don? n'ake t\e nev: )ea\, ve cor'e fron hutile natiou
Uhy La,rryn Hilt \ad to Vtit tb qyic!- [ever gave a fqck'boqt peace talk, negofiatron;
Uhy all t\ee gfoqpie bitc\# *actin'to rr,?ke rne rick Bqt ve need to raake ,ohe c\anger/ Bqr\'eoqnd \ere rtealing
Talkin' boqt, 'T don't stcip,I radet' /oq rvallov and gargie Rcpnln'planr inh baildiny vhle ve beefin"boqt y\o got t\e \ade* lyrvS
V\y a dqdu in Cali lv? nre in t\e head vith a bottle Xs yoq n;9941 rcciow? Scartaee the king of t\e 5oqt\
U\y X ain? rell t\cee nil on Bektca Jn ny opinion, bct evecy iigga oqt t\e 5oqt\ got onetlvn'fo contribqfe
Tarn aro6d, f\cee nontlrr later., rigned a $azy deal vit\ Car\ Itloney l4An, ve *ppoted t0 keep it pinrpin'

Recordt 5t di*qsc Wttt ictue han-to-nan and reconclle yoqc ditfecencer

V\y f\"r. c\ickr contradict theyrelt - Grandaddy 5ocf, 'king o{ Da Soqd
Taen acoand, take they clot\er o++, 'eare t\ey ceally t\ink tex tellt
U\y a tot of t\e*
tlppersbe reacl,in' )'att done fqcked aroqnd and tet ,tc in
\o discetpeei,bqi sol'crll'e tell nre rihy hone rtopped Preaclvh' J sqn ganre on t\ee \oer and they let ne vin
VeEoae back? /oq vanna knov v\at X tUnk ir rrrad ill 7 don't need no end; and I drl,.'t neednoBenz
T\at Noca\ Joner ain? \ave no beet bqt rtill rold ten r'il frt a ;tiek noqt\piece and a ccp o't\at Hen'...
U\y t\.r. gicb don? learn t\ey lerron Iuct nlce, J'nr t\e
r'eanert in the g?nre
T\ere entecfainerr really don? veac pcotection Xt ya rr,an PlAy ?utth f'n the Penir in t\e g?nre
Baby girf pay atfenf;on lw put it all foget\er, /o( the ;enen ;n t\e gane
V\y t\. \ood rtiti tove rrre to deaf\ And I
got yoq on hy d;cb t\at'r t\e cearon t\af yoq car"e
lCacre they knov that 7'a real and 1 cide 'tit nry ta* breat\ And 86 f
ain? even gvtta nyr 'G,ef \iry'
- Lil'l'10, 'V\y' Got youe taoily ized ap, and t\ey black rqitr ?ll tit'enr
14 1ls [olla; 'Gef \irr,,' yoq knov I von? bqilAit \irn
f for t\en boys ln T ennesseer T eaarr and Atabaaa
'nr rpealvn' A ni99a that realS Ioq kno\i yoq gotta feel lvh
- Ofty Red, 'Let l'le lnt lreettyle (T\e Vay Ve 00 /'all Sluf +')
Loqi;i?n4 Arkauar, and 6eor9a
l4issis.'tppi,
T\e 6qu\ine State, tlrai's v\ece J'rt' trorr., t\e rtate of Fiorida
The kakatackit t\e Carolina;, t\e Nort\ and t\e 5oqt\ ride
for real t\oqgb y'att ptrt tlrir bqliAit beUnd ya
ln eye foc an eye ain? 9on'do not\ing but btind ya En?il yoqr 16 bav to
l\ov o'nd y4X ait'+ tryin' to di# *t\er one of y'att -58@i
But T.X.. and flip, davg, t\ir ain? t\e vay ve batt 0Z0N Etrl A6. COPl ror con,iderarion.

,,
ftLy alfuim is comnq ouf in Nouenbr. Let lhe plice knqw (/ rn Hx.al4dy :u/p .
b.;';;;/b.; uon"i o, in" ;; ;i;, h"fl"s."' - r*k Dad4/'
^gonnr
Fg;;ggy,
0['0Tn
a'wK */
ltoz lftatwe could reconcile a// lrte **" ^o;::r#!;o!;:/;ff[r*y#:::rf;f"

../fs a misfak fu lltink lhat you,re gonna. b in lrte entertainnent ndaslry and not b expbiled tl/e lire willt exploifallon
- Afeni ShaktrBEEFll Dlo)
gong;i;-;;;i;;;f;i i* t*atexpaifatrui."
every'day,butfrte issue is lnwyou're
:

,Yhe
gorernmenl hafes rap. rftey toun/ sa//an n a /p/e, and lrtey
still can'f fiaare oal lufio slotTupc? saddan was in a
vttfiote in haq, andTupac gofslnlin Las /egas,
Arti1oo, f1ghil- ' Chrb Rock U'lera Scared
t; ;;;;fthitiif-rai*

.yhis / qotnyfirstpiece.of pssyn /9E5 and nyfirslset

nrohlfu lw nuclt informafion,batl'ue gota DJslorynyself:
r t\rtvw w"c' lhalfu,{itTili*'A"'"iiy
ofTechnics in 1986. / don'flanwwfiere -" - eA"toitu at'' ttfianiie FreslrrfornrU allhe
tuitrs/pw pouer Sunnit Awards Eanquet in ko Grande, Paerfu Rico
:
, , . rt ^-^-)t,-..i.toa
-Pleasewte forJohn Aoaan,</'//make more noneyoffJohn offmyselr- - Kanle t{/eston
do offnpe
-;;;;; lhan /,:;,
IL6{srul o rideo,fuecause
[Legenfl's "qav'vcvq' n6/ft6Park
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kr:tr-, irLj:l r-*. it doer l':*rr'* iis pelki, lh*r:gh" > The Surreal Life
The rnost amusing shit on television
i*.'r i*::*li:. i:: a nutsh*l!.:
> Petey Pablo * Suge Knight?
limp. 1{lt*: *u6ip*i*,I i* i:r: lfist *in',t *f ,*r*qii;tl:+ir ?j*ek ls Death Row actua[ly gonna start putting
i*i.h+.iis= k+**:* *l '"i:{rii."i i*i $*pi=iriler'l isrL:*. hlagil;'.tn* out records again?
{rir,;.l *rri! fcirtifis s*ilncis {::;is},, []Lil ii': **:1. L4::*ed r--"]: cj*;*rjlirret. > Fat Joe vs. Cuban Link
***:r-: :1, **il. *r;v* ++*r*i**i: ii: #:iaryl!. Real beef is on the streets, not on wax
$arg. ?{]ah: 5h*r:rt i}ii*i.ii.l'n viri** nl {ir":b Fe*p. la:: *i:t i*i an i:rr":i
di.rr"r*6 ir.fl*.h i-:r'*:*+: i'J*:i'ir i,:.:i.rj lhis +g*iri:i! ri:+, Jr*;. ilriv+: **el l*
> LitWyte
{Pinr *€*nn}
Sr:"anri*. filllsil I'irsl h*li *i riug*:ln*. ****r i+ i*+ > BET banning Eminem's
=riiti{}i" f*:: +r-;1
**p ?1:t: R,er:* l* t**;nirpr:r'r. *+*'*11++ iiig+i til Atieil1,;:.
*:: ih* p!.nrlil. liirr;r:r i-.i['..i*n'r vide* *r &1ia:q**red*:" i'];rr:; i:ul fq:;i new video
i:* hmrir eh#i|lg Nl,:::eii i-.r#+.t1,- {-f**kl iij::j:* *i:*if"r bur:.;i,gvs*rs elff C'mon, who daesn't make fun of Alichael
er*i;*rl *rrel*r'*irl. Vide$ riir"r*t -ri!ll g*ir'u-{" Jackson?
$*p 3findr Fimr out.." tllr*i*:lh'*oi r"viliii"ll" ai F&ir|rrr$ri{ Sludil-ln" > Miri Bin-Ari
5+*1il f i:rFif r'*f !*arry's #ilRiii'*r:i1ili pnr'f-V Dl Fr*q,;*uryl >
5*p flfir*; F.*r-l.ei;* i1iilhi r* i!Y*. i:i*+:tt+gs ;nd lillt.
Jim .,fonsin
Sep ?4th: ffe*'cyr firth{. lrt P*erN* lticr:. r1r.r:i*nnh;rli'9 arrirrE +i "Let's Go" & "Damn it Man" producer
{:..rhnn i,irri;.': j+;'ri<*i r';*=*ng * -[irrr,:l 5r1u;td flr"*+::: i*€" n** > Vivica Fox
=;*;s
idea. Kilting her career softly
5sF ?Srhi S ai:] ior-iI ri: t** *e{*rfii {ar:tr:r'y in S;tr..lilnn" I dsn'i ev*::
drirrk. fria+ta1 a::*n=i+-ir= {*-:€i i* i: **l'::*iel:n slcp- 5ii-:*;l-:iv*
r*:*rl. fr** l*** ev*r1..',+h*r*. Silnrhirre" Slu'inrnrirrg" ll1eani.+iiils, flKHAT{Wffi MARKTTIM&
i-ii:rr'ic*n* Je**::* *:'rjy*: in Fi*rl**" ie+'l g* h*iri*, *!rpr:rti :11;t
s{! s&{r& deg [**:':gt*g i*.; d*ttn" Fr:r;l+:-': p+wsl*i:1" H* fi*1,'; il-ri?;i?]fter. Atw&Rn
til* p+*E !i: Fii*res' swpr J,Sth'?7t*: "li=r:k" ir: F:-:*ri.* ,tjr*" l4r:r* tr.e* f***" i,l!rF-, siln-
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5+p ;$th-?*tiu Hace *g*iilst tirix*" Tryiilq tfl **irh s*c*nd lratf +l
ttt*g+:ine. 3tjlI a few p;g*s i*ft. $*1111* ii" n*ftil.
5*p 3*r*: Ra*e [* nirpcrn:. iA?sl {light. Auriu* tn ilucri$ ftiil* i::i='
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n**:n" lqii"rrit mtt'r*igtt. flin*i!.i, *n!.rh tirrl *tc*nfr hillf *f fiul SeptfiiTri){ir rs:i;+. f;*** rr: 6':rint*r.
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tfr /inU \?l"ig.!-r.".'ir:s *i:rj \*ki**. lil 't'"-ry** dissecl ja.";-I" #*i*'y P*irlu ran *r*unil slimwi*g *{f *is
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fllll friilr*r** rjr'.lrr+ *ii.*r
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ffie t i. #,th ^ i *t!:: .+::+Lh*i' *.*il-*i:,1.i{]il ,,v**;i *f h*.,ii . i{|!w i'iii *il*r;l. k: l"t.r*;h tl'ris ilrl-.trjh*i iiilrs,: l*
thE #ri*l*r'ani ** ii":i:;shji sii *';+i +'ii:j*. 3{+E-,i*iijilii:*r*+**i; il" r,vi[L ;:;iy *if .
Th* "Li*yd Sanks" gay pcrn? Hs, tir*t's nst, hini, it's
e{t*at{y a Say psrn rtar narnerj Ty Lattin:+re. What a
= -.ii.;f i* S*v*lig. jh#*rx+*emag,**;+r shame, Ja ft*Le $suld'vs had fun wrth that ffi€.

HYFfi{*ITg AWAftS
"{enservative" tatk-rhcw
host Bill O'Reitly, who's
made a career of biastins
rappers like Ludacris {or*
their {gasp) exFl;{it iyri{r,
Cuban Link fl Syleena Johnson "Hold On" Ludacris "Get Back" iE h*'ing hit with s $*Hilfri
hsr*$$rnsnt iarssuit. Ylu
RichBoy il A,ttitude & Oavid Banner "Role &lodels" Game fl 50 Cent "Count on Me" cnn read ail t*e a{tegad
Slim Thug fl Pharrell "l Ain't Fleard of That" TQ "Lirten" details absut this hornv
Nas fl Olu Dara "Bridging the Gap" Buju Banton "Magic City" firiddte-sg*d m*n'* f**rl-
fiesr f*r *bratsrs **d
Pitbult f/ liick Daddy "Melting Pot" BloodRaw "Feel lt" phune sex wjth ei.$p{*y*ss
Tom G f/ David Banner "Hottest in the $outh" Young Jeezy f/ Bun B o'Over l'lere" *t th**m*kingg!J*.fl*1:r,
Karmft i$ a bitch, i$n't it?

OZONE I,IAGAZINE Ocrosrn 2004 11

 RJIDIO AIRPTAY #
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The four members of rhom James hait from att different parts of
the country. Members J Brown
and John Aymos were born and raised in Macon,.GA, uut aino r,.iiiti"r
di,ioktyn and crisis is
from Atlanta. with the diverse influences that mike up the grouf;no
cords, Thom James is abte to_produce a versatile stream of irusit
*tlirl.o"r, streetwize Re.
tnat r.ung"iliom humble, taid-
back vibes to crunk, in-vour-face venting. when the inaepenoent iaili
was the first person signed.. "When the four of us get together
;;;;
in 1999, J Brown
in the studio, w"lurt ulu" so wet[,,,
he says,.explaining whv they chose to.form..the g'rorp inom ra;;;.
provided mostty by Gigalow, representing Wisconlin, 'ano matice
il;i;iilduse production is
cieen, i"pi"i"nting Detroit. The
group and the tabel has been on the grind in the Sou.theast
ror seveiit y!.ii no*,'prrhing mix-
tapes in the streets tike thejr curentletease , The way we Do y,ar[ shii
wit-r. no
James has
!9e1 bgsy touring with the. Kad-attack Boyz and workini on in"ir rilirrgldi,
m, Thom James:
lyglted Dead or A/ive, which features G.ame, 8.G., s5.n parroi'tie'Vo,ln!'irioaz, and Bun B.
Wth their lead single, "Push and Shove," their wariare mentatity is evident". J-Brown
exptained
the meaning behind their street record, "we Ain't soldiers, w; ffi;;i;;;
by-saying, ,,A sotdier
is someone that's totd what to do, but a gangsta knows what
to do and when to do it. That,s the
whole basis for Streetwize Records. tt's riot ilst a name for the record ruu"i,
For more information, visit www.streetwizerecords.com , Julia g."".rv,
li"
a *.y oitire.;
ioboronemag.com

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and survival that has
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ffi Duolive, the Caribbean-l.,i"rl.un team on the grind in the underground circuit
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rnli team n.i o"bn
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for years, carefutty f whether rain' steet'
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the streets, cetebrating tneir you a pre-bootylicious
iut l snoq or tormenting n"ut, ii,"y{
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sidnesi are intertwined," the dvnamic duo of roots'
No* tntt the time has come to do the damn thing'
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*".[a*ia".,, _ prin'cess L. McBean ?or On Point Marketing & Promotions
 NCIBOPY CAN TOIICH U5
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I t's the week before the MTV Video Music Awards, and most of the ,,I
I artists visiting Miami are doing their best to get their party on or JUSI.
I at least be seen on South Beach. lt's another typically beautiful
day in South Florida, but Mannie Fresh is in his natural environment.
tlt
He's hard at work in the studio. He's tooking a tittle slimmer these
days - maybe it's the loss of his 'fro. His entourage is minimal, and he
seems to feel no pressure about his upcoming solo album scheduled.
to drop December 7th.
ESOMETHI
'"Rl t$t
It'lGt}{
Some of the Cash Money Millionaires have come and gone (Turk and
B.G,); some came, left, came back, and left again (Juvenile); but (ANREIATEi,l0.tt -'.
Mannie Fresh has been down from the very beginning. He's provided
the majority of the beats you know and love from Cash Monqy, in-
cluding "Ha," "Still Fly," "Project Chick," and "We On Fire." Those of fun, the hoOk,,of
are just a few of his classic joints, and he's still making hits today.
Lil'Wayne's "Go DJ" is quickly moving up the charts, and lReal,Big:1:
is his first single as a solo artist.

Like a lot of producers today, itannidRestr:ti$l]$gp.ped or1 gt qne

production booth and moved in front of ,,tlle$ii.iiophone to put it
down as a rapper. But being a producer was by no means his avenue Did you ask him if lpu'
to get noticed as a rapper. He and Baby, otherwise known as the Nau I didn't, but I thirk:
Birdman, have been putting out records for years ai !hqlg_!g.1tters;'. be cool with it. ::':r:'

but Mannie has never put a whole lot of energy inta beilgrlq&e|}s€rjl
ously as an MC. Fresh is doing it for self, because hels gettitig:'i€ady As a producer, do y<iu
to drop his very first solo album. Even though he continues,to gener- which ones you use.oh
ously provide hot beats for his Cash lvloney family, he's saved plenty NaW not reatty. I mightr
of bangers for himself. " . to it again tike a day:tatgf:
to exptain it, but itls like:
Mannie Fresh could have easily sent out his beats to other artists so an alright song, but I
they could come up with the concepts for-the songs, But don't get it want to have differerit
twisted, his upcoming project is not "Mahhie Fresh Presents..." lt's the same subject, then you:ve
not a compilation that just features songs he produced. lt's an actual
album, where he's flowing continuously. He's not trying to come with Now that the album's almost done, I he
something drasticatly different. He's not talking about politics or
world events, he's just sticking to the Cash Money formula.of having
fun over hot beats.

OZONE tracked Mannie down in the studio to find out about his up-
coming album.

When you were on the road with Baby and he was promoting his solo
album, I heard you say in an interview that you really had no interest
in doing a solo album. You said you didn't have enough to say to put
out a whole album. What changed since then?
They cut the check, and they motivated me. I'm just tetting you what's
rea[, what's honest, you knowwhat I'm saying? Like lsaid, I mean, I re-
alty wasn't trying to do no soto album. But I done it, and it's here. They
cut the check, and now I'm here. I [ove everybody because money is
good. God is better, but money is good.

So is the album finished?

NaW it's not finished yet. l've got tike three more songs to do before
it's finished.

What makes this atbum different from anything else that Cash Mon- When should'rive
ey's put out before?
My album is just me. lt's The lAind of Mannie Fresh, you knolv:what I'm'
sayin'?And I think it's a fun atbum, because lget to do me. lwanted to
do an atbum where it's just fun att the way from the beginning to the ly,l,lbout
end, you know? Music's just been about one thing - either you do this Tli:
or you do that or you a gangster or whatever. I want to give you a good ',$IV,'
album from beginning to end. Skits, songs, and all that. Something to ing him extra souqceg of ,,tha
make you smite, something that you'lt tike listening to. in-house producer::for 6ash, .l'q'99
Mannie branching out on his ,o-Ba
hustle is nothlng Bgg f,oq!$.g ,ali fndy,,:,:...
dropped his solo litbeqi:r,aitd. r:Lrtglzr:r,r.tifl',:
Wayn e i,s,.Abgut to.:1airnch,l,a:f..*li dorofrCash.:',
Money,.:J$yenlle:is

o'lf I couldn't haye l,laoni€r Fi€-ih; llionairiles; has' nev.er

procldimed 'he .hes,',begh,' one i$
Mannie Fresh [produce] the pfoduc€rl: if .'keep'hiai:el_f r,a iid hig
beats ieleVaiitl.r
my albtrms, I wouldn't ;i {re'll' 5E!,whati,ha.can.
ii.iliiiirtd lea'rnftnm, Alan:
maKe any mofe aiiit he sttill:rie€m: to.be
,t@e*iouifuand,lnY€gtir-rg
albums." - Lil'Wayne lirt:thi3 te,Iy,:tickl€ .i,volld sf

OZONE,T AGAZNE Ocroern 2004 2l

 Lil Jon & Ha*t Side
Pitbull f/ Piccels Bovz f/ Lil ScraoE v
'Bamn it Man" "\A?hat u Gon Doil
Club Eleep (Miami, FL)
TW Rrcords

22 oZONE IMGAZINE OcroBER 2004


,.i
f-: i:
\ -+::: lllf.... : , made our beats. They met us at the radio station and catted us back, so
ll;l ll I I f
\ ",;i f,
ut:'u
1!*" \\,
As a member of Three 6 Mafia's Hypnotized
Mindz camp, Lil Wyte sold over 135,000
copies of his album, Doubt lAe Now, with
no promotion, He is currently prepar-
ing for the release of Phinally Phamous
through Asylum/Warner Bros. Ask him all
the white-boy-in-the-rap-game questions
you can think of, and he's prepared. He's
just out to get his piece of the pie.
When did you start rapping?
When I was eight years otd, I knew atl the
words to "Baby Got Back." I mean, that's
not very common. I knew it back then, and
l've known for a long time. I got into the
rap business in the ninth grade, I started
rapping in schoot with a dude named
Lit Btack, so you can guess where my
name came from. We was a little
tag team, cuttin'dudes up
in the cafeteria. He totd
me one day, "You
,.
I
.... r' rliil trt,ril,,.=
..eeedlls.igtsf+..lt'rjilfirg instead of freestyling." I was [ike, "Let's do it." So,
:]:ita$ed.srEri{ii1g,lffiO it just kept going and going. I got with one of my
' bdyt; White,.gj+$!B.gt+-iro - that's my dawg, he's the cause of atl this - he
'knew some boylg,lth.-bt rapped, three other white dudes. They had a studio,
.qfrd'enabtedme'tdrhook up with them. We made a tight tittte demo and
,:ta$5ed it out. We sold 'em in the 'hood, and one of them got into the
-ltaridS of [Three 6 Mafia's] DJ Pau[ and Juicy J through the producer that
they started fuckin'with us. After that, it was on. I had a tittte girt and
a career ahead of me that I had to pursue instead of staying in the stums
with everybody el.se. They tiked my music and ended up signing me. I
,li grew up on Three 6 i4afia, that was my biggest inspiration. I grew up a
few minutes away from them. I atways new that rap woutd take me some-
where, but I never thought it woutd take me straight to their front door.
Basicalty, we worked cn my first album, Doubt lAe Now, and it started
setting reat good. We were hitt'ing the streets, and just through word-of-
coPies'
'"'ftp9#ooo
NOut'gggive iigned to AsylumAVarner Bros. How did that come about?
We hooked up with Viotator. They're the management company for Busta
[Rhymes], Missy [Ettiot], you know, and they reatly started shopping for a
deal for me, That's when Asylum came in. lt's basicatty just a distribution
deat, it's Like going through Setect-O-Hits but on a larger scate. We're still
making money as if we were an independent. A tot of [tabels] approached
L iif-hereli been a lot of controversy over the past year or so about white
*= people ruining What was your opinion on the whole Benzino
*.., vs, Eminem thi
.G= I can't control the thoughts, l'm just out here doing my own
f=
a-
thing. I've got and anybody out there that's in
the rap game period and . I've got love for 'em untess they
got no love for me. Eminem path for peopte like me, he made
other producers want to look at a boy. I grew up in the'hood with
nothin' but btack peopte, so l'm around em atl the time. I think my music
is pretty much universat. I done had att kinds of fans. At[ ages, atl races.
I'm not real commerciat with it, but to me, "commercial" is just what
you make it to be. "Commerciat" just means getting out there and being
mainstream.
What kind of reaction have you been getting from audiences in other
parts of the country?
Wett, New York ain't reatty hip to me yet. Up North has overtooked me,
but that's good because next go'round l'[[ get to'em. Just because you
look at me crazy don't mean I ain't stitt got the [Ove for you, it just means
you don't know me. The way the wortd is today it's crazy. Nobody cares
about nobody no more. Everybody onty cares about that one thing: if
it ain't making a do[[ar, peopte don't wanna hear it. But I feet that the
whote wotld wilt come around. That 135,000 sotd with no promotions
speaks foi itsetf. No other new indie artist has ever done that.
How were you aUte to accomplish that?
Number one, my tyrics. I make good music. Off top, it's them beats. Wor:d:,iri:::i :
of mouth is the biggest kind of promotion you can have. One person goes
That was actuatty Paul's idea, we got it
about taking somebody from the
big metaphor, coming from the hood. But no,
most common question I get asked now, llm a
keeping my mind on the money and my d'ick out
part. I done had a baby, I gotta let'em know. I tett'em,
a fan, thanks for your support, but we can not have sex. {€ecause i
my gir[, I'd lose my brain. Anybody out there reading this.shit can catt me
a punk and I don't care. lf you ain't got [ove, your ass is lacking, l've got
ptenty of [ove in my [ife.
 Every three months, hundreds of key BJs, producers, artists, and
indie record label owners throughout the Southeast embark on a
multipte-hour trek to gather in an unlikely place: the small college
town (and state capital) of Tallahassee, Florida. The rnan behind this
gathering is TJ Chapman, a 0J, entrepreneur, and all-around music
consultant, His record pool, TJ's DJ's, is celebrating their ter year
anniversary this fatl, and attendance at their quarterly "Tastemakers"
pool meeting has blossomed from forty people to over a thousand.
Even though the pool has helped the careers of countless up-and-
coming artists and has enjoyed tremendous growth, TJ says he's only
been putting in "5A%" recently, as he handled two r€tail stor€s and
IRS troubles in the midst of a struggting ecanomy. He's learned from
the past and is moving forward stronger than ever, 100%.
What arc some of the services you offer ta artists and record labels?
We do consutting and rtreet promotions. When lsay "consutting," it's
just a matter of what services a company wants to utilize me for. Having
been a retail store ownet I have a lot of retationships at retail that
I've formed through different coatitions and organizations. 5o we're
very effective on the retail side. A[sa, internet promctions is one of my
strengths. We post at different key message hoards oniine where DJs and
key music industry people hang out, as we[[ as using email campaigns
that reach several thousand DJs. Emaiting mp3s, in my opinion, is the
most eff*ctive way to prornote a record as far as getting it out there.
It's a vital marketing tool. I also consutt on the business end, setting
up record companies and pubtishing companies or instructing sonrebody
how to register with BDS or get a barcode or register with Soundscan.
hetp them learn how to futty promote and market their product, all the
way from getting websites done to graphic design and even printing"
Are you actively involved with the actual music production for any
of your ctients?
Latety, I've had a [ot of peopte coming to me for work and I haven't been
abte to take their projects just because they don't realty have the right
songs to break through. So l'[[ come in and hetpA&R some projects, hetp
them find writers, producers, and tie everything together. For exampte,
Ee-De's "Let's Get to lt" remix, that's one of my most recent projects.
connected him with Rasheeda and Smurf's Cottipark Records.
On the record pool side itself, what exactly is TJ's DJ's Record Pool?
The pooL itsetf is an organization of DJs. We have about a hundred DJs
throughout Ftorida, Georgia, and Alabama, and then we have a few
spread out in places like Virginia, Texas, and Oklahoma. We started
in 1994, so this is the tenth year anniversary of the record poot. We
actuatly started doing the Tastemakers
record pool meetings in 2000, so this
is our fourth year doing the poot
meetings,
What kind of groMh have you seen
rqriliif
since the first meeting? & 'i,li:.
The very first one we did, I think we had
about forty people there. NoW we're
;.;tit**
ll: ..:il
anticipating over a thousand people.
5o il's just crazy how it's grown. When
I first started, it was a requirement of
the urban reeord pool coalitiOn that
I was a part of at the time. I reatty
didn't wanna do it at first, we onty did
it because it was a requirement" Then
after the first one, I started seeing the
purpose of it and the beneflts.
What are the beneflts?
We can use it to help educate people
on how to prorflote and market their
music. lt helps peopte network, which
is the key to the whole industry in
my opinion. Retationships are the key
to everything, so if you can be in the
|ight ptace wiih the right peopte, the
opp0rtunities are endtess.
How did you grow from forty people
to a thousand? Was it a continual
growth or one particular thing?
24 oZONE IIAGAZ|NE OcroBER 2004
It was a pretty
steady growth,
but when I actually
saw the growth start
happening was when
you started including
us in different stories
in OZONI and helping
us get the word out about "[TJ'S N'S REC(IRD&
what we're doing.
CD-POOI TASIETI,IAIGR
R€cently, you've been dealing MEEilNGSITDUCATE
with some problems with the PEOPTEAND IIETP PEOPTE
IRS and had to shut down two of N EIWORK...RTIATI O}I$H : PS
your retail stores because of tax- ARE TIIE ItrY?O EVEW.
related 'issues. ls that sornething
you want to discuss or would you THI!{G,SO IFYOU CAN BE IN
rather nct? TilN RffiHT PHffiWTlI THE
My main purpose isn't money. Money RI6HTPEOP1E THEOPPOR.
doesn't make up for all the time and ruilmtsAru F{DLES$."
effort I put into it. I really do it for
the tove, and for me, it's about hetping people" That's where I get the
most satisfaction, so I don't mind talking about it. Hopef*tty by tetLirg
my story it might hetp somebody else because they might be able to
relate to me.
I So where did the IRS problems originate?
Just as a business, I wasn't handting certain things. ln a nutshelt, you've
got to dot your i's and cross your t's. 5o, that was part of the problem,
but the economy had a whote lot to do with everything. On the retait
side, man, the economy was terribte. On my end, with Wildstyte, I had
a business partner. My responsibitity was to oversee the business, and
it turned out to be a whote tot more than I reatized it was gonna be.
I started spreading myself too thin, not realizing the responsibit'ities
- mentally, physicatty, and even financiatly - the stuff required.
I Did you have an accountant handling your finances?
At the time, we didn't actuatty have an accountant, we had a
bookkeeper. lt was getting to be too much for the bookkeeper to
handte, wjth the other ctients that they had, 5o we went through a
period of time trying a couple different accountants that didn't work
out. We finalty got a CPA, and that's what reatly hetped us straighten
out everything and deal with the whote process" The one thing I wilt say
that I learned is no matter what, you can't do everything yourself, Al[
great peopte have great advisors, You've
got to have a CPA, you've got to have
a lawyer to hetp you rnake the right
decisions with contractuaI stuff, and
you've got to have a financial advisor.
d How were you able to stay positive?
During the whole process, the one
positive thing is that I realized my eyes
had been clouded and I couldn't see a
tot of things. Now' I see. I always felt
tike everything happens for a reason,
but at that time you might not be abte
to understand or see what that reason
is. lor me, it was just getting back t0
basics and knowing that I don't have
those other responsibitities resting on
my shou[ders. lt's a whole lot better for
me now that the smoke has cleared" I
see everything and I see what direction
i want to go in and where l'm headed.
It frees me up lo do more consulting,
which is working r*a[ we[ for me. lt's
hetped me establish mcre focus on
the record pooi, which l've neglected
somewhat. The public has seen growth,
but that's onty me putting in 50%.
With alt the avents you put togeth*r,
whethellt's a record pool meeting
or a elub night, things usually start
on time and ar6 very wellorganized"
How do you manage that?
One of my issues has always been that l'm a perfectionist, so I want
things to be right. We put a lot of time and effort into that" Peopte
don't understand that ihis is a constant process. lt's not a week before
the event that we decide to start working on ii. As soon as one lpool
meeting] ends we recap and go over what went right and wrong and start
on the next one. lt's helped us put a system in place, and we have a lot
of support from the community and everybody at the radio stations and
the clubs. One of the biggest keys to keeping eventss and the company
organized is my staff, Keith and Dior. Without them I'd be dead in the
water.
You've played a key part in developing the careers of a lot of artists.
David Banner, Khia, Jacki-O, Lil' Jon, Pastor Troy, Tritlvitte, and Li['
Scrappy, to name a few.
When you first heard their music, what appealed to you about them
that made ysu want to help them?
It was just a feeting. They all touched some type of emotion in me. I used
to manage an artist named Prince Raheim, and we had an A&R at lstand
Recards named Joe GaLdo. He used to atways te[[ me that what would
make him interested in a record or sign an artist was if it made him see
Gad. I never understood that. I was [ike, man, this cat is crazy. What, he
had a revelation or something, and actualty saw God pop up? But, now
I understand it. lt's just something in the song that touches something
inside of you and invokes some type of reaction. lt's something about
that record, and I can't exptain that feeling but it's just something inside
you. There's so much music out here nowadays that good isn't good
enough anymore. You've gat to have something exceptional.
What artists do you see that really have the potential to blow up?
BtoodRaw, Mike Jones, and Young Jeezy, That cat's been buil.ding
his name for a white in Atlanta but a tot of people don't know him
nationatly. He's about to bust.
Since you're such an advocate for mp3s and making use of technology,
what direction do you see the music industry going in terms of
preventing bootlegging and things tike that?
People are gonna aontinue to download music no matter what, and
that's another reason I had to get out of the retail business. Basicatly, in
my opinion, these majors are gonna cut out these rnom &' pop retaiters
comptetely over the next five years. You're gonna se€ rnore and more
direct-to-the-customer sales through the internet. Al[ computers will
have CD burners pretty soon. There won't be a need to go to a retaiter.
fMajor tabets] are finatly start'ing to real'ize the positive ways to use
mp3s through email and downloading songs, Even for artists on the
independent side, that's something they need to take more advantage
of and pay more attention to. For me, I think that's something that
can help levet the ptaying fietd. lf you don't have alt the money and
frnances of a major labet, with the internet you can be gtobal., You can
make rnoney while you sleep and get your music more places than you
could even if you did have money. lt's just a matter of people utitizing
technology and finding better ways to protect their music.
A lot of people don't make use of technology because they don't
know how to use it. How did you become so computer literate?
Actuatty when I was young, in etementary schoot, I took computer
programming ctasses. I was the onty kid I knew in junior high to have a
personal computer. This is when personat computers had just carne out.
Then, having a business, I was always very computer literate and used
the computer to help me do everything because I didn't have big dol{ars
to hire people. Also, the last real job I had was computer programming.
I did software and database devetopment.
What made you decide to start a record pool?
I was doing a tot of management for artists tike Prince Raheim and Crazy
Legs and Beatmasier Clay D. Doing management, I had to deal with a lot
of DJs. Wh'ile I was doing promotions for my ar tists and tracking their
records, that's how I found out about record pools. i realized that in
Florida there was a big void. There was one in Tampa and one in Miami,
but that was it for the state. The next closest pools were in Mobile, AL,
and Attanta, so that's a big void. I just started the record pool to hetp
circulate musi€ to the DJs and expose their music to the masses.
Even though Tallahassee is the state capital it isn't really known as
a major spot for hip-hop, but every three months you've got key
industry people coming through. Do you think what you've done has
drawn attention to lhllahassee as a city?
When I started the poot, I used to catl [record labets] and tett peopie I
wanted to get [vinyl sent to me], and they'd ask where I was located.
They used to laugh at me and tell me, "That isn't a market," lt took
years for me to get Def Jam service, like three or four years. I think
they didn't see it as a credible market because they didn't understand
the power of the college students' doltars. This is a big cottege town,
Florida A&M University and Ftorida State University are both here in
Tattahassee. 5o for me, I made it my purpose to hetp develop it into
something. They used to say it wasn't a market or they'd taugh and
wouldn't return my calls, but now, ten years later, they aLt want to
come.
What are you future plans for the record poo[?
Thete's been a tot of people asking about having a muttiple day weekend
conference, so I have ptans to actualty do a futt three-day conference in
2005. I did the Urban Music Conference in 2000 that was real big.
Are you from Tallahassee originatly?
I'm frorn Detroit. I came here because I had a scholarship for the
business school at Ftorida A&M. FAIfrU's business school, SBl, is one of
the top rated business schools at black co[leges in the United States.
And, a lot of people don't reatize that I used to be a DJ. I was DJing back
in '84, that's how I got my ear for music.
What's your biggest frustration when dealing with indie labels?
It's companies and artists that don't have what they need behind them
to promote themselves. You can't hetp anybody who isn't helping
themsetves. I mean, a labet needs to actuatty have an office and a phone
number where you can catl and get an answer. You need a website so
people can hear you online and downtoad your music. You need flyers,
posters, good packaging, a barcode. You've got to hetp yoursetf. A tot of
peopte just make songs and they don't have the money or knowledge of
what to do with them. That's the biggest frustrations, peopte who don't
realize that this is a business.
What are the three keys to owning a successful business?
One, organization. I use Quickbooks for al[ my bookkeeping, I use a
program catled Act to organize my contacts, a*d I use Microsoft Office
- Word, Excel to do spreadsheets - and you're good, Two, having a good
personality, the abitity to network and build relationships. Three, the
last thing, shit, making your word your bond. lf you ain't gonna do
something, don't say it. lt's not hard to te[ peopte "no." lf you don't
tike that record or you're not gonna do that favor, don't promise it.
Peopte don't realize how small this circle is in the industry and how
hard it is to get in the circle. Word travels fast, so if you can't buitd up
your credibility you ain't even gonna make it into the game.
What if someone approaches you to help promote their record, and
they're witling to pay you, but you aren't feeling the music?
l'[[ let 'em know I'm not feeling it. For me it's not just about getting
that quick money, it's about longterm relationships. I'd rather turn away
money today and stilt be able to keep that relationship, because that
way they won't be upset with me for not producing resutts. I'd rather
have repeat business. lf I don't think I can be effective with that record,
l'tt tell them, and I'll tett them what's wrong with it. Some people get
mad at me, but it's not that I'm trying to attack them personatly, I'm
just trying to hetp them out. 5o six months later down the road when
the song stitl isn't working, they'l.t look back and think, damn, he tried
to tell me. Most peopte just don't have the right people in their corner,
so if their boy says it's hot, they go out there and spend money. No
matter how much money they had, before they reatize it, it's gone.
When people are trying to get on and they approach you for help,
what's the worst way they go about it? What's your pet peeve?
Peopte should just listen, that's one of the biggest things. I love to talk
to everybody, but sometimes the timing isn't just right. Sometimes I try
to tetl 'em to call me or come by the office, but they just don't hear
me and insist on tatking and tatking, I never want to be rude, but what
do you do when they aren't tistening? Or, sometimes peopte get a hotd
of my cell number and catl me at a time of day when it's inappropriate.
Peopte can contact me by visiting the website, www.tjsdjs,com, or
emailing me at tj@tjsdjs.com or calt the office at 850-877-6090.
- Photos and interview by Julia Beverly, jb@ozonemag.com
OZONE i AGAZINE Ocroern 2004 25
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OZONE MAGAZINE Ocroeen 2004
 *&

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01 - Jadakiss and Cuban Link 02 ' Lit'Jon and Yung Wun 03 - Lil' Ftip and J-Hood 04 - The view from the back of the Paradisus Resort
05 - Chamitlionaire, OG Ron C, and Rasaq 06 - Murder Mamis: Shawnna, Lazy K, 1st Lady Et, Remy Martin, and Rah Digga 07 - Trina -
fi
and Baby 08 - Heavy Hitter TimBuck2 and Big Dawg Pitbutt DJ Nasty rep their ctiques 09 - Fight Ktub participants Jae Mittz and Jin
10-BryanLeachandDJKhated 11-NickCannonreppin'OZONE 12-SwayandSwizzBeatz'13-Mixmasterlce,O,andRobLove
14 " DJ Demp i 5 - Akon and Kaeson I 6 - Mos Def ; Tatib Kweli, and Common performing @ Ctub Arena i 7 - Sway and Rene Mclean
@ the Mixshow Power Summit Awards banquet 1 B - Cory Gunz and Gotti 19 - A historic shot of Red Alert and Chris Lighty ?0 - Pimp
Boo 21 - DJ Ritz and DJ B-Lord 22 - Game gets "arrested" during his performance @ Ctub Arena
 :..@l

p II
Soafter the success of your single ,,City Boy" and the remix in the Of all the artists coming up, what separates you from the masses?
Tampa/Orlando area, you're preparing to release a mixtape? God btessed me with a gift, and I'm using it to the best of my abitity. ljust
Yeah, the mixtape is called Definition of Hungry Vot. 1. Wetre tryin'to do feet tike l'm supposed to be ahead of the rest because I never setttefor
everything in the proper order, that's why we pushed the actual atbum nothing less than the best. I atways go hard, I write so much, 16's ain't
back. We've gotta make sure these mixtapes get in the right hands first, nothing. I write 32's now. I basicalty trained mysetf, and with the hetp of
and then drop the atbum. We're making a big Southeastern push. my labet and my CEO and labelmates, we just goin, hard with it. I was
constantty grinding, and this is destiny. I just ended up in the hands I'm
"City Boy" has been out for almost a year noq are you putting out this supposed to be in. l'm in good hands now, so I feel tike it's just a matter of
mixtape to help continue your street buzz? time. We done made a 360. Me signing with Gigantic was ihe change, the
Not only to get a street buzz, but this is kinda like a thank you to att the takeover, the turning point for me.
fans, the radio stations, magazines, everybody who,s been supporting us.
It's a free mixtape. A tot of artists don't reach out to their ian base, so How would you describe your music to someone who hasn't heard it?
that's what I'm trying to do. And let me say, this, too: I read in OZONE that Fjre. Personally, I think it's gonna catch every ear. I see the crowd par-
tittte thing about the Tampa curse, the "one-hit wonder syndrome." Tom ticipation when I perform, how the fans react, it,s just crazy. We strive to
G is not a one-hit wonder. lf you think that, you steepin,. Me personatty, I cater to everybody: streets, women, kids, streets, radio, everybody.
dream about going to the top. I'm tryin' to be the one to open the door ior
T1mpa, A tot of peopte see that, and they're behind me 100%. l,ve got the So the album is called Marked Money, and the mixtape is called Defini-
city behind me real heavy. tion of Hungry Vol. 1. What is the Defnifion of Hungry?
That's me. I mean, cats walk around like they hungry, they broke, and
How did you get into the rap game? they just lookin' for a way out of they situation. I'm itways hungry. Some
I been rapping since I was seven, but I didn,t get for reat with it untit I peop-te make a.hit song and then they're getting show money soihey're
went to cotlege. I went to Stittman Cottege in Tuscatoosa, Atabama, it,s a satisfied, but I'm never satisfied. I'm always the one going hard. Ftorida
smatl btack co[[ege. ln Alabama there's a whote bunch of rap cats tryin, don't really have an underground market tike Texas or New brleans, so l,m
to get on, but I just happened to be one of the ones that everybody was tryin'.to pop that open for Ftorida. l'm tryin,to get with a couple artists
checkin' for. I started taking it seriously. tike BtoodRaw and Grandaddy Souf. I ain't reatty got to Trick yei, but I'm
tryin' to get the chance to hotta at him.
Did you graduate? What were you studying?
Mass Communications was my major, but I actuatty dropped out after two How do you stay hungry if you make a lot of money?
years because of "City Boy." I recorded an atbum up there called lvlan of It's just my mindstate. Icoutd have a mittion dottarsin the bank, but just
the Hour. We had a hot tittte group catted the ep Ctique. I came back to tike Ltoyd Banks says, l've got the hunger for more. l,m not going to itop
Tampa over the summer, and that was right when ,,City Boy', popped off, unti[ I reach where I can't even betieve I coutd reach. l,ve got an ongoing
We had shows and stuff booked when I was supposed to go back to school,
so I was tike, I gotta get this money. l'd rather get this money now than be 1u1eer, lain't tryin'to stop for nobody. I'm tryin'to do itlike Jay-ZanJ
A9 it. Them big boys, they doing it. That's the definition of hungry.
in cotlege broke. fult
It don't matter how much they've accomptished, them boys stitt working,
That's what I plan on doing.
How did "City Boy" blow up?
I've got a method. I've got a good retationship with most of the DJs, so qet to that level you've got to appeal to people outside your region.
when I go to the club and bring 'em something they atready know it,s 19 With a Southern sound, how do you plan to reach other audiencesi
gonna be hot. I get like fifteen or twenty cats in my ctique and we take Rea[ lyrics wit[ reach anywhere.
Reat detivery real sound, real money,
over the dance floor when my song comes on. We do it two or three times real production. If you've got atl that rolled into one, you
coutd reaih
in the same ctub, we ca[[ it the City Tour. We go around to different ctubs, anybody.
and from then on the song catches on. Everywhere we go, we take advan-
tage of the situation. Are there any collaborations on your album?
Big ups to David Banner, I catt him my uncte. He shows me a lot of love
Some DJs complain about artists who come to the club bugging them to every time he comes down to Tampa. Other than that,
we on the constant
play their record. How did you get those relationships? grind on our own right now.
Before "City Boy," I had a retationship with att the DJs personatty. They
already knew I coutd spit and make good quatity music, so when I stepped Are you hoping to get picked up by a major label for distribution?
to 'em it wasn't a probtem. What's your biggest frustration in dealing with the majors?
They kinda cocky to me, but you expect that from a major. We come at
Are you worried now that the single is starting to slow down? them from the business perspective [ike, we don't reatty need it. lt,s att
Naw, I ain't worried about that because I've always got hot music to foltow good either way. lf we get signed by a major we're straight,
we,t[ blow.
up. l've got another singte, "Get Loose," or other songs we could retease But even if we don't get signed we stitt gonna be straight and we stitt
asthe second single. I've got faith in alt my songs. We coutd pick any song gonna btow.
off the atbum now and drop it and not worry about it flopping. That;s ho*
confident I am with my music. - Photo and words by Jutia Beverly, jb@ozonemag.com

14 ozoNEiAGAZ|NEOcroBER200{
 #
As CEO of Gigantic Entertainment, what's your ultimate goal with Tom
G's project? Are you hoping to get a distribution deal?
lvlanny "Neg" Simmons: Of course, the goal of any business venture is to
take it to the next [eve[. You don't wanna come out of pocket for the rest
of your [ife. We've got a good buzz here in Ftorida and we coutd put the
album out in this region, but to be reatistic, in this business we atl know
the money tatks and the buttshit watks. The more money you spend, the
further you can go. But can you justify it? Of course, that's the direction
we want to go. But right now, I think we're doing wett as an independent.
How did you meet Tom G?
with me, starting with Tommy, and I try to teach them how to appty com-
mon sense to avoid a tot of the buttshit that comes at you. Peopte act like
life is so fuckin' hard. lt ain't hard if you just stay focused and stick to a
set of rules that you know is gonna hetp you advance. Stay disciplined and
keep your eyes and ears open. A tot of dudes get a littte money and start
a record tabet just so they can say, "l'm a CEO." That's att buttshit. Being
a CEO is about leadership.
From a business perspective, was going to prison a positive thing?
Yeah, but at the time, you don't see it like that. I was nineteen years otd
when I went to prison. Think about your mindstate when you're nineteen. I

I actuatly heard of him through my original artist, Suspect. He got locked saw things comptetety differentty. ln prison is where I grew up and learned
up right before his campaign was about to start. I had att his promotional to be a man because you're stripped of atl the bare necessities. At[ you've
stuff ready to go, but he got fucked up. A DJ in Tampa that showed a lot got is yourself, your word, and your heart. You go to prison atone and you
fo [ove, DJ Baby Sam, is reatty responsibte for Tom's signing. He totd me come home atone. lt made me a stronger man. ln 1998 I had about three
about Tom G and put me in touch with him. He was actuatty signed to an- more years to do in prison and I was sitting on my bed reading The Source
other record tabet. They had done a city-wide retease, and the record was Magazine when Jigga was btowing up and they had interviewed him and
hot here in Tampa. Not to point any fingers, but I guess Tommy just wanted asked him what advice he would give to somebody tryin' to get into the
more from the company because he saw a lot of promise in his project. As music industry. His answer was, "Learn the business." lnformation, knowt-
far as getting it outside of Tampa, though, the motivation and the funds edge, that's the number one commodity. lf you don't have that, there's
weren't there. "City Boy" got heavy radio spins and ctub ptay here in only so far you can go untess you're lucky. I'm not a hard-headed nigga,
Tampa for a whiLe, but by the time I got ahotd of the record it was atready feel me? lf I can sit back and hear some good advice from a nigga that
dying out here. I knew it coutd do good in other parts of Ftorida, but it made it, l'tt run with it. From that moment, I started making catts and get-
would take a budget and a lot of work and cooperation from the artist to ting ahotd of industry books. There was so much that I didn't know. I used
get it to that point. We went back and forth with that tabet and bought his to rap, but after I heard that, I decided to just focus on being a CEO.
contract out. Tommy prayed about the situation and he was comfortable
with his decision. A few years down the line, if Tom G has blown up, should we expect to
see you as both a CEO and rapper?
What's your background like as far as business? Did you go to college? That's not what I'm envisioning, but if I'm feeting tyricatty inclined at the
I went to prison right after I graduated from high schoot. I was nineteen time, then I'tt do it. l'm trying to get about twenty, thirty mit first. Tommy
and I did a seven-year bid. I was on the way to co[[ege, but I didn't get has a labetmate, M Dolta. He's hot. That's who I see coming after Tommy.
that opportunity. I was always a bad kid, but I got good grades. I graduated
with straight As. Higher learning is atl good, but if you don't have common What appealed to you most about Tom G as an artist?
sense, I don't give a damn how many years you went to coltege. lf you're ln the studio, I love what he does with his vocats and ad-tibs. He uses dif-
street smart and you know how to work in and out of situations, you can ferent voice tones. When l'm mixing his music, I'm loving it. There's so
make anything happen. much I coutd do with it. That's just him naturatty, raw. He's got that pres-
ence in the studio and a vision of how he wants h'is music to come out. He
You seem more organized than most independent labels. What's your drops his ad-[ibs to fit his vision.
business philosophy?
Time and ptanning. When I was in prison, I spent a [ot of my money on When do you plan on putting out Tom G's album, hlarked itioney?
music industry books. That's where I learned about publishing and that's The atbum is wrapped, it's done. My ditemma as an independent is that it's
how I pieced together the whole music industry. Att I had was time. Once the fourth quarter, which is a bad time to drop an atbum. lt's hard to come
I understand something, I'm a muthafucker. That's on everything. I'm a out in November or December as an independent. We decided to put out
go-getter. This is what I wanted, and I had time to ptan it. Unfortunate[y, his mixtape, Definition of Hungry Vol. 1, first. lt shows love to atl Tommy's
a lot of start-up labets don't have the time to sit down tike I did for years fans, and atso, it shows that he is for reat. He can get on that ctub shit att
to ptan out their moves like I have. I might have been at an advantage, but day, but Tommy is a real MC.
the bottom line is that you can't do shit without money. I had to come up
before I could make my moves. I've got a group of young guys that work - Photo and words by Julia Beverly, jb@ozonemag.com

OZONE IV\ACTAZINE Ocrosen 2004 15

 day

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tionally.t$W,e,glito
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and Arambv. !,!!tj:g&Ffuas
,i,raed.Ammily. or 12 vears otd. Mv brother
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brother was right
.:',]ne*Cr me. Att,ct*:lltii:food spoiled..,That's Wien I first had'nifi.rslDgl,!$
:ttp,Zl.An4.froin,{here, me and,rny brother:flippeC d,Doub{e,Upl$;.!i
:.:;t,wt!--war,at a zoiie, We wer€ ou! rthere,hgstli4g, I was,lible ta-hdii,tft
,,r,'.:figfher take cafe of bitts..and'buy my own ctothes al,id,cars
young age.

....$.Qlfiuit1v.$qtryiysbeenia,ggqd,burine**man?,,: .;r
.:i;::t.a$.rl.$.i^uii!letfrl1frn; I iust'hav.q a talenL{6r::rap':,But all my.t'tifgff#
r.l:1,ltqrtteqrlrrn,rriitar,rapper. lfin a,hu*tlrr; Thatis wha! f tq$S$iSi
:::::ikillt$.t,,!lie:eid:of.tl!qdeiy. Af! mv !{e,1've:been hqittiflgifg$.$ iiii
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8.ap;t€h.gb!'igck,'h.edw.b;:,,scarfaee.,q{Ji$$rse.'T.K$ll$nasr one of my
]:::,!9,:ry!nfiqgnsesirh4d.n:J1q :dt{q$ll:iqpJra!! qrrs to draw rrom.

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is come out
care if I'm
had cut the soigs with, t did€.-i$lJbw the,corti,j
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tabets. lt wasn't nolhffil&at the tirne becadl€;.I
regutar job and hustti{Sf'.&u kfio-.g hg.w !! is, yc
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evertasting.
 dvd reviews:
When Mr. Magic says "Do it Big," he must be referring to AII Access: the DVD lAagazine. They've even got
major organziations [ike MTV recognizing their work. This month's cover features sexy video model/rapper
Gloria "Glory" Vetez, the setf-proclaimed Marityn Monroe of rap. She freestytes an acapelta dissing the
Notorious one and also sends a diss and catt out to Hot 97's Miss lnfo. Sounds like Gtory wants to hand Miss
lnfo a beatdown. Atso making a cameo is another Hot 97 on-air personatity, G-Unit diss bandit and Def Jam
recording artist Joe Buddens, The impromptu interview happens at the same time as Gloria Vetez' interview. Buddens admits
that he had to "go down" on Glory after she gave mind-blowing head. You have to cop the DVD to find out what Vetez says about
Buddens' oral sex skilts. Velez atso responds to some comments that Miami rap mogu[ Uncte Luke said about her in the previous
issue.

The Diptomats'Jim Jones lets you into his wortd this issue, letting you know why he's doing it his way. He takes you on a tour of
his [ife, exptaining how he and Camron came up and discusses the everyday strugg[es of deating with the decision to stick with
a major [abe[ or go independent. Jim atso schoots you on what type of haze is smoked to come up with mind-blowing beats and
lyrics within the Dipset studio. Next, we take a journey to 5t. Louis, where Chingy airs out some dirty laundry. He chattenges the haters who tatk behind
his back to come face him manoy mano. Sounds tike Chingy has a bone to pick with one particutar rapper. This DVD Magazine covers everything from
the radio hosts to DJs to artists to producers. That's why it's catted All Accesst. - Malik Abdul, malik@ozonemag.com

ffip
;' I was so excited when I saw the cover of this DVD, Pimp G presents Daytona Spring Breok 20041 Whenev-
er you hear the words "spring break," the first things that come to mind are bikinis, peopte getting drunk,
and beautiful women. This DVD definitely lives up to that ideat. The cover had some beautiful women on
it, so I hastity put the DVD into my ptayer. The opening scene shows Pimp G performing his single "Bomb
Ass Head." This video woutd definitety fit into rotation on BET's late night Uncut videos just because of the
modets. The lyrics are bad, though. The beat and the hook are catchy, but how can you mess up rapping about getting "bomb-ass
head"?

This DVD overall is very uncut and unedited. The camera work is very amateur, with shaky shots and bad cutaways. But, if you're
looking for that true feet'ing of being in Daytona, or if you've never made it down for Btack Cottege Reunion, this video witt make
you fee[ as if you're right there in the midst of atl the action. Pimp G manages to catch some fine beauties with his camera. lf
you're looking for phat asses, the camera angtes are so up-ctose you'I fee[ like a Bet[South commercial: "Reach Out and Touch
Someone!" Beautiful women of atl races are dressed in skimpy ctothes and high heets, watking up and down the strip. This DVD
also shows you how hard it is for women to pose for pictures in Daytona. There's lots of ass-grabbing and pissed-off women, but
the men atl have big smiles. This DVD didn't disappoint on another feature that's big in Daytona over Spring Break: pimped-out rides and big trucks.
There's also a cameo appearance from one ofAtlanta's hottest groups, the YoungBtoodz.

Near the end, the DVD takes a big adutt turn (inserf parental advisory here). There are two scenes showing a typicat weekend at BCR: the strip party!
This stripper was a straight hoodrat. She never actuatty stood up on the tabte and danced, she just laid on her back with her legs apart, caressing her
breast with one hand and smoking a cigarette with the other. White she's getting showered with dottar bitts, some customers check her fluid tevets with
their fingers since she is busy smoking. Then the video turns into a straight porn, as the stripper gives head to a guy in the audience. lf you've never
visited Daytona for Spring Break, this DVD would make up foryour lost experience, - MalikAbdul, malik@ozonemag.com

.ii:i: You've heard the phrase, "We're doing it tike we're doing it for TV!" Wet[, Street TV is definitety doing it for TV with this retease,

fffg ,t: Somethin'2 Ride 2. They're actuatty doing it for the TVs you've got in your ridel This Chicago-based company has taken music
video DVDs to another levet. From the instant you ptace this DVD in the ptayer, you're in for something different and totatty
unexpected. The no-reproduction disctaimer says it at[: "Don't say, 'l didn't read the warning,' because it's too [ate. We witt be
cracking your fucking head open!"

Atso known as Vision Mix, this company is the number one source for DVD videos for your ride. When I met these guys from Street TV, before they
gave me the DVD, they wanted to check out OZONE
Magazine. After going over the magazine from cover
to cover, they calted over one of their employees. The
emptoyee proceeded to open a locked briefcase and
gave me Votume One of their hip-hop and R&B series.
The graphics are very concise and clear, and so is the
sound. There aren't any distortions or messed-up
'ideos. These videos are the same videos you't[ see on
MTV or BET from the original artist and director, but
on Something 2 Ride 2, it's got a twist. The videos are
mixed! The music on the videos are mixed and btended
into the next song, as if you're listening to a live DJ
ptaying on the turntabtes, cutting and mixing songs.

There's also a ptace for future ctients to advertise.

lf anyone needs videos with att the latest bangers,
tike Fat Joe's "Lean Back" or Ciara and Petey Pabto's
"Goodies," it's att here, There's nineteen videos on
this mix DVD. Otd-schoolers can check out the New
Edition video, and if you love R&B, this is your video
mix. Even the titte is sung by a heavyweight in the
rap game, Danny Boy, who sang on most of Tupac's
bangers.

Watching this DVD mix made me want to go out and put

TVs and a DVD ptayer in my whip. lf you atready have
the sound system and TVs, then a[[ you need are the
videos. - fitalikAbdul, malik@ozonemag.com

18 OZONE l,tAGAZlNE OclroBER 2004

I n the world of Dancehall Reggae, riddims rule
I overatl when it comes to the clubs and bash-
I ments (parties). However, equatty important and
reverenced is creativity and superior lyrics. Since
debuting with "You Nuh Ready Fi Dis" produced by
Dave Ketty, Tanya Stephens has become known for
her botd lyrics, intettigence and going against the
grain no matter what the criticism. Throughout
the years, her songs have given women a voice in a
country where the unspoken rule of women is rath-
er subservient and bordertine degrading at times.
Reggae has traditiona[ty been a man's world. How-
ever, in the last decade Tanya has taken her ptace
undisputedty as an unrivated songwriter. Over the
years, Tanya reteased several Dancehatl Reggae
albums released via VP Records. Yet, taking a brief
hiatus from Dancehatt, it's been over five years
since her last album.
Tanya confided in taking time away from the tradi-
tional roads of reteasing albums. She exptained "l
had an atbum out on Warner Records in Sweden in few years back catted
'Sintoxicated.' lt was more pop in content compared to what lwas doing
with Dancehatt. After coming back to Jamaica atmost two years ago,
to get in new topics. I reatty didn't want to recycte
anything at a[[. That's always been my objective,
when I did the song "Freaky Type" [which discussed
the subject of men providing oral sex] that was the
first time anyone came out with support of that.
I've continued on that trend, showcase my growth.
I want to make it ctear there is so much we can do
outside of limited options we've boxed oursetves
into. I wanted to break out of the limited topics
comptetety. "
With Dancehatt getting more recognition wortd
wide, particularty in America, Tanya is showing a
very different flava to those who haven't atready-
been immersed in this genre. There is great depth
and brittiance in her new atbum. She enthusiasti-
calty expressed, "lt hetps now that more people are
accepting of Dancehall. I don't approach like now
the door is open and l'm in. Whatever anyone did
and creative an avenue, but now I have to get up
and bust my ass to do whatever my record and my
product can do. I have to work extremely hard, push
VP as hard as I can push them. I make suggestions, I do promotions and l't[
go after every avenue I can use to get the stuff out there."
I

started doing singtes and getting my name back out in Dancehatl circles.
When I felt I had done that enough, then I did the atbum, after being sure
to buitd up some demand for it."
From day one, Tanya was chattenging her inner stream of creativity in mu-
sic. Ear['ier interviews have her quoted adamantly stating she wanted to
be considered an artist in general more than being ctassified as Dancehatl
Reggae artist. Moving to Sweden hetped Tanya to experiment with her
ideas and different musical direction. For Tanya it was a period of growth
as she shared "lt made me get rid of some of my hang-ups in terms of
what I was witting to do in Dancehatt. I think the best thing it did was re-
atly from a pubtishing standpoint as I received so much attention from the
pubtishing community over there. ln Jamaica there aren't really femate
writers because others are writing for them, there are no other females
that have songs that compare to mine, lt boasted my confidence being in
a different environment. You need encouragement from time to time. By
having a couple of major pubtishing company bidding over my stuff with-
out records sates but by just listening to my material was a good boost for
my writing."
White Tanya poured out hits in Dancehatt consisting of "Goggte", "119",
Draw Fe Mi Finger", "Big Ninja Bike" and other hits before going to Swe-
den, not much can compare with the uttimate compliment of having some-
one cover your original materiat. Finding a sotid fan base in Europe, she
exptained this new [eve[ of success. "There have been artists in Europe
who have covered my material. l've written for other Dancehatl artists.
Red Gotd, a Sandaivan artist who used to be a member of a rap group
covered one of my songs for her album. Ann Sotoumn, another European
artist, did a cover of "Rock The Cradte".
Writing is the tool of communication for most great thinkers. For Ste-
phens, who has long been considered an authentic rebet, she has botdty
stated what others see but whisper. For years she had an ontine site in
which she gave many editoriats and exposed her views of the music, the
Jamaican Music lndustry and some of the common fautts or hindrance it
had from within. Her material is vastty different, sometimes providing
critical narratives on men for their lack of sexuat performance, touching
on potitical subjects such as the government in Jamaica's negtect for the
many communities in need and even now far too commonty accepted rotl
of sharing a man.
Greatness reatty comes from within. Often times there is no structure to
the release and for Tanya her lyrics as free as her thinking. She shares, "l
don't have a method to writing - honestly. Most peopte think of writing
as something you can institutionalized. There is no fixed way it should
be done. lt is creativity; it has no method except to be creative. I am a
consumer also and I want something that's entertaining. l'm grateful and
appreciated by the complements that my lyrics are intettigent. Being in-
tettigent is obvious and speaks for itsetf."
White Tanya is definitety the top of the tier wortdwide when it comes to
Dancehall Reggae, she opted for a different feel for this present atbum
"Gangsta Btues". The album opens with a narrative from the heart with
Tanya dectaring she's not out to gain the approval of her peers. She con-
fides, "The atbum is more coming from the story tetting standpoint. I tried
Being one of the few women in Dancehatl Reggae, Tanya is a power-
ful force to contend with. Her new atbum is a testament to this with
songs like "Littte White Lie", "lt's A Pity", "Can't Breathe", "The Other
Cheeck", "Tek Him Back", "Sound of My Tears" and "Way Back". Each song
has unique significant messages. ln "Way Back" Tanya openty expresses a
desire to see rea[ talent in music from lyrics to performances - going so
far as to declare when artists were poor they gave more in their material
and performances. "Little White Lie" telts the tail of a woman saddling
one man with another's chitd from a woman's perspective rather than the
"ho" perspective onty shared in music to date. "lt'sAPity" which has been
a huge singte in Europe and defiantty the track that has propetted her back
into the American's Reggae community shares the conflict of an itlicit re[a-
tionship between two people already committed to others.
"Can't Breathe" is the uttimate love letter of a woman scorned, express-
ing everything from intense emotion, jealousy, anger and sorrow. "Tek
Him Back" goes atl the way to the opposite end of the spectrum from the
perspective of a woman who sought to steal another's man and then de-
cided he wasn't worth it and wants his former girtfriend to rid her of the
said man. There are atso cottaborations on this album with Wyctef Jean
and Spragga Benz. Not att her material is retationship driven; "The Other
Cheek" is definitety critical of the faitings of government.
Tanya's subject matter and writing style definitety sets her apart from not
just the rest of women in Reggae but many of the deejays and singers as
we[[. For her it's the most important aspect of her career as she shares "l
don't feel I need distractions. I concentrate on my content. I don't need
to go on stage and exposure my anatomy to get attention; I try to do that
with my songs. I'm no against being sexy. I don't think being naked and
sexy is the same thing. There are lot of peopte naked that need to cover
up. Even though I do a [ot of topics about sex, I'm not setting sex it's more
from a social standpoint."
Even more than her strong conviction is the fact that she has her own pro-
duction company/labet imprint in Jamaica with partner Andrew Henton,
son of famed producer Computer Paut. Gdngsta Blues was produced by this
team. "This was our first venture, " she says. "Even working with other art-
ists, we think we can make a meaningfuI contribution with our fresh 'ideas,
not limited to boundaries set by Dancehatt. We ptan to incorporate others
for various tevets of experience and excetlence. We're in the process of
deating with production of a riddim right now We're picking carefu[[y who
we put on it. We don't want to grab random artists. We want every singte
song to be a wicked song. Just tatent, onty tatent, 'if it's a big one (artist)
with tatent we'[[ approach them. Smatt artist, we't[ approach them. You
need certain famitiarity: so far: Da'Vitte, Tanya Stephens, Bounty Kitler are
going to be recording."
Gangsta Blues is definitety worth picking up. lf you're atready familiar with
Tanya Stephens, this atbum witl send you over the top and ensure your [oy-
alty. lf you're not famitiar with her spectacutar tunes over energetic beats,
this album wi[[ serve as an introduction to an expressive, heart-touching
[yricist and performer. You'[ watk away a fan. Check out her website:
www.tanyastephensmusic.com (currentty in devetopment.)
- RudeGal, RudeGal@RudeGal.com

OZONEi AGAZ|NE Ocrceen2004 19

 JUVENILE J and his Goon Squad bring us part two of the Tim McGraq "Over and Over." Nelty might as wetl
JUVENILE'S GREATEST Wetcome to Grimyvitle saga, a CD and a DVD. To go get himself some boots and a cowboy hat and
HITS catch attention first, Bump J presents a remix retire to a nice traiter home, because with tracks
CASH MONEY RECORDS of "Overnight Celebrity" first. Camron, 50 Cent, tike this his career won't last much longer. This
Cash Money shoutd think and Twista verses are atl used to give the illusion is clearty a country song, and doesn't fit Netty's
about renaming this of a coltaboration but it's basica[ty just a cut- sing-songy tone. Relief finatly comes at the end of
atbum Down South DJs and-paste job with Bump adding a fitler verse. "Die for You," dedicated to Netty's son and daugh-

ffi
Crate Savers, because On "Drama," we hear both Bump J and the se- ter. This is one of the few moments where Netty
that's exactty what it's cret weapon Sty Potaroid do a pretty damn good comes with some meaningful lyrics. His vocats
doing for me. lt saves me job of hotding down the squad. Bump takes the match the fee[ of the metlow beat. Att in att, this
crate space! ln the wortd crown with bars like "Niggas think I fetl off, no atbum isn't worth purchasing. Ctich6 subject mat-
of greatest hits atbums, no / lf ever Bump falts he's gon' come back up ter, NetLy's insistence on attempting to sing when
usually the tabet picks att like a yo-yo / My flow's toco, your shit is so-so he can't, and average production make Nelty's
the singtes from the art- / Yo bro, my money long like Rebecca Lobo." attempt at an R&B atbum a failure. But at least
ists' ful[-tength LPs and throw them together. "G-Thang 2004" is a Snoop track where Bump J you can stitt ptay with the cover! - Rohit Loomba,
Not this timel This collection of songs is exactly shows off some real lyricism with vivid similes. poombster@yahoo.com
what the titte says it is: Juvenile's greatest hits. One of the album's gems is a remake of Jay-Z's
A[[ bases are covered, atl the way from "Solja "What More Can I Say," where the imaginative LL COOL J
Rags" to "Stow Motion." Att the good Juvie shit metaphors witt putt you're attention constantty. DEFINITION
is right here. Album cuts [ike "Juvenite on Fire," Bump poses the question, "NoW who you know DEF JA/'A
"400 Degreez," "Never Had Shit," and my fa- rep the city tike Bump? Not a soul / I got the
vorite Juvie song of atl time, "Rich Niggaz," are heavy metal if you ready to rock and rott." When it comes to longev-
a[[ included. The onty thing missing is "Project He also touches on studio gangsters, rhyming, ity in the hip-hop wortd,
Chick," and I coutd've done without the Ying "These rappers leave home, go in the studio no one can touch LL Coo[ J.
Yang Twins' and Wyctef remix of "Stow Motion." and turn into Nino / Talkin'the streets tike it's He's dropping his eleventh
Otherwise, th'is is solid - damn near a classic part of their lingo / Fine, they'tt find you in the atbum, Definition, and as
atbum. Al[ we want are the hits, baby, and water like Nemo." The DVD's reptay vatue is time has progressed, so
this album doesn't disappoint. - Wally Sparks, m'inimat, but a valuable education on the Goon has LL's styte. With Defini-
djwallysparks@yahoo. com Squad. - ADG, adg@tmail.com tion, he caters to the more
commercial constituents of
CIARA NELLY his fottowing with tracks
GOODIES SUIT catered for radio ptay. Atthough the LL of otd
SHONUFF/LAFACE/ UNIVERSAL RECORDS might not be found in whole on Definition, distinct
ZOMBA elements of the otd LL has a ctear influence in this
It's unfortunate when an new project. The atbum starts off with first singte
Right from the jump, artist puts out one shitty "Headsprung," one of six production efforts by
this atbum is in party album by itsetf, but Netty Timbatand. This track summarizes LL's main inten-
mode. The title track has taken this impres- tion with this atbum, gracing the crates of ctub
and the current ladies sive feat and doubled it DJs everywhere. The bass pounds, the asses grind.

fff{
anthem, "Goodies," sets
everything off. I swear,
if another gir[ tetts me
that she's keeping her
goodies in the jar, l'm
gonna throw dough in her face and tetl her,
"l'm the cookie cutter, so let me cut!!!" Right
after that, the dancefloor detight "1 2 Step,"
featuring Missy Ettiot, keeps everything moving.
Other standout cuts on this record inctude the
banger "Oh," which features Ludacris. lt atmost
sounds like a screwed version of "Rubber Band
Man" with some sweet harmonies flyin' over the
top. Then, we have the R Ketty produced win-
ner, "Next to You," where Ciara serenades some
tucky bastard about how she wants to get down.
Then she stops and decides she ain't gonna play
herself out tike that. That's probabty a good
thing; abstinence is the answer, right? Lastty,
here's a note for you lazy-ass AftRs. One good
singte and an album of twenty tracks of trash
is buttshit. Twetve sotid joints is a[[ you need.
Just ask Ciara. And for atl my homeboys out
there, this 'is a good gift for your lady friend.
It makes them feel sexy, and you know what
that leads to. Yeaaaaaahhh!! - Wally Sparks,
djwallysparks@yahoo. com
BUMPJ&THEGOON
SQUAD
WELCOME TO GRIMY.
VILLE
With the current success
of Kanye West and Twista
out of Chicago, it wasn't
long before another Chi-
Town native woutd utitize that spottight. Bump
.rt, fli
by dropping two weak Timbatand atso provides the beat for the slower,
atbums on the same more melodic "Rub My Back," which starts off
day. The only benefit is mediocre but grows on the listener. LL employs a
that you can put the two detiberate flow to talk to the women, "Got 'em
covers together and see in [ine, they begging me / Baby regardtess your
Netty's entire face! Other than that two-piece body is kitl.ing me / Gir[ I'm loving your anatomy /
puzzte, Netty hasn't presented us with much en- Your personatity, so what you want from me?" LL
tertainment. So, in the grand tradition of Netty, comes strong on "Feel the Beat" with a confident
here is one of two reviews. And if you put them flow. He's ctearly at home over the otd breakbeat,
together with the cover art aligned properly, atso produced by Timbaland. Timb's best track on
you get to see his WHOLE FACE! So [et's start this album is "Every Sip," which is nothing short of
off with the R&B-oriented Suit. The Neptunes lyrical seduction: "Her smite was bananas, teeth
open up the album with Netty on "Play it Off," a was pearly white / That's when I reatized it'[[ be
great reminder of Netty's lack of singing tatent. a long night / The vibe was right, she was laced
Listeners beware, this is onty the beginning. in a[[ white." Further tracks come from produc-
"Ptay it Off" is supposed to be a ptayer's an- ers such as Dame Grease, who contributed "1 in
them, with Netty pitching in his two cents to te[[ the Morning." The beat on this track isn't amaz-
them not to [et their girls catch them. Can Netty ing, and it actually doesn't do a very good job of
reatly get multipte girts with those bandaids on comptimenting LL's flow. LL himself comes with an
his face? The track is decent, but anyone with a aggressive vibe, spitting in a way that's almost
reat ear for hip-hop can identify this as a Nep- reminiscent of his days as the venomous MC who
tunes recycted drum [oop. "Pretty Toes," pro- put Canibus to rest. LL timits artist appearances
duced by Jazze Pha, hetps out the atbum a little on this atbum, but R Ketty is featured on "l'm
thanks to the strong production effort. Just About to Get Her" which is a little too similar to
ignore Netly's quasi-singing and inconsequen- "Fiesta." Whil.e the verses on this track aren't LL's
tial lyrics and listen to T.l. put it down. Netty best, they are decent. R Kelly comes with his stan-
starts off with some potential on "Paradise" dard performance, nothing out of the ordinary.
untiI the serene chorus degrades into talking The onty other feature is 7 Auretius on "Hush,"
about Appte Bottoms. The production here is which isn't worth a repeat listen. When it comes
solid. Netly's singing abitities are ptaced in stark to achieving his goal of targeting commercial ra-
contrast against the steltar vocal abitities of dio and other hip-hop outlets, LL has succeeded
Ron lstey on "She Don't Know My Name," which with his eteventh atbum, Definifion. Through this
atso features Snoop Dogg. lt sounds a lot like body of work, it's a guarantee that LL wi[[ have
"Beautiful." Mase and Avery Storm join Netty on the trunks shaking and the bodies grinding on the
"ln My Life," which is mediocre at best. lf this dancefloor for many months to come. Atthough
is Mase's best attempt at a comeback, maybe it's not a masterpiece, it's stitt on point and once
he should've stayed in retirement. Another again proves that LL Coot J is undeniabty a hip-hop
interesting cotlaboration is with country singer legend. - Rohit Loomba, poombster@yahoo.com

20 OZONE i AGAZINE OcroBER 2004

 l*i's SJ"s $le{:*rd $:r**t {"1a${ahn*$es, F{-}

ptaylists s*r. trffid 01

02
- lltobb Deep
- ?ick Daddy
f/ Lil Jon "kal Gangstas"
f/ Lit Jon "Let's 6o"

{*fl:rxer***l radt* T*;*

01 - Usher & Alicia Boo"
Keys
1$ {natim*wid*}
'i'ly
i*;"cl*ndc *esqlr* Fe*tr {*rl**dt*, fL}
01 - Fabolous "Sreathe"
03
04
05
06
- Pitbull f/ Piccalo "Damn it Man"
- Lit krappy "No Problem$'
'Terror Squad "Lean Eack (remix)"
- Lit Jon & the East S,ide 8o1z fl Lil knppy
@
0? - Ciara f/ Petey Pablo "Goodies" 02 - Lit Wayne f/ lvlannie Fresh "Go DJ" I "What U Gon'Do"
03 - Terror Squad "Lean Back" 03 - Trick Daddy fl Lil Jon "Let's 6o" 07 - |lr. illagic f/ YrungBtmdz & tuy Jones Jr
04 - .Akon fl Stytes P "Loeked Up (remix)" 04 - Miss-Teeq "Scandalous (remix)" "l Smoke, I grink {remix)"
05 - Netly f/ Jaheim "ldy Ptace" 05 - Guerilla Elack f1 Eeenie l{an "Compton" 08 - lrtase "Sreathe, Stretch, Shake'
06 - [minem "Just Lose it" 06 - l{iss I "Sottle Action" 09 - Guerilta Btack f/ Beenie ir|an "Compton"
07 - Triek Daddy ll Lil Jon "Let's 6c" 07 - Nivea "0K" 10 - Nelly "Ftap Your Wngs"
08 - Destiny's Chitd "Lose My Ereath" 08 - i4ario "Let lAe Lsve U" 11 - Ciara f/ ktey Pabto "6oodis {remix}"
09 - N.0.R"f. f1 Nina Sky & Oaddy Yankee 09 - Beenie l*an "(ing of Dancehall" 12 - 0ern Franchize Bop f/ JO "White Tees {remixf'
"Oye ,l!li Canto" 10 - 4ndutal "Gstta Rotl" 13 - Usher & Aticia lr*ys'1{y 8oo'
10 - Lil Flip fl
Lea'Sunshine" lt - Usher & Alicia Keys "lly 8oo" 14 - Lil Wayne "Eafthquake"

iff&{ffiH l-*cs[ t.rrv i$s*i F*t:n, fL]

01 - Jermaine "Tetl !{e"
02 - BSU f/ Lit'Jsn "Sak Passe"
03 - Danger f/ Davinchi "Feels So Good"
04 - Gotd Rush "Damn Right" fuE
05 - J-Red "Dis Ain't How" 4t{ffi,l}
- Cotosus "Let's Roll" -a+-"dd
06
07 - Funkadelic Ent. "Funkadelic"
08 - RX f/ Babebtu "Get it R,ight"
09 - Schife Cartel "Do a Than$'
10 - Avalanche "561"

9*€ fec*r* F*cl {Tar*pa" F[-] T*p lnd{*s

01 - Eve'nin Ridahz "!ty Click"
02 - llagic fl YoungBloodz,
J\,lr. Roy Jones
"l Smoke, I Drink (remix)"
03 - i4oney Mark Oiggla "Homesick"
04 - Piccalo fl Jacki-O "Get Loose"
05 - [Oubb "U Stuck"
06 - J Gram "Big Spenda {remix}"

Ytd+s *,tix {$ti*r*i, Fi"} fi**vy rst*ti*ri

01 - SBatt & MJG fl Shannon Jones
"Straight Cadillac Pirnpin"'
02 - Mr. Magic f/ Young8lordz, Roy Jones
"l Smoke, I Drink {remix}"
03 - Ciara f/ Petey Pablc "lAy 6oodies"
04 - Guerilla Btack fl Beenie lAan
"Compton"
05 - Jitt Scott "Gotden" *%
06 - Kamikaze "U Ain't Hard" ffi
07 - Lil Wayne fl Mannie Fresh "Go DJ"
08 - i4ase "Breathe, Stretch, Shake"
09 - Petey Pablo fI Rasheeda "Vibrate"
10 - i{jke Jones, PaulWall, Slim Thug
"Stilt Tippin"'

0J Silent Rage & DJ Ritz

"The Air lYmr lrlixtape Vol. I "
djsilentnge.com cr djritz.net
js*{ueje-t
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