CityBeat: Mr. Brady, ‘Slumper Party’

Photo: Antonio Maristela / Star In The Sky Photography

I wrote an article on Mr. Brady from Deep Rooted for this week’s issue of CityBeat (though I’d like to be clear that I hold no responsibility for the title, hah). Brady just released an EP with producer AbJo, Welcome To The City, which you can stream above. Thanks goes out to Brady, AbJo, and Christie for making this article possible. Full interview transcript to follow soon. For now, you know the drill. Read a snippet below and check the full article here.

When most 9-to-5ers are brushing their teeth before resting for the next workday, Brandon Crowel is just punching in. A rapper and producer better known as Mr. Brady, he sits in his makeshift bedroom laboratory late into the night, poring over stacks of records, chopping up samples, tapping out drum parts on his samplers and writing rhymes on a notepad.

“I wouldn’t know what to do with myself if I didn’t make music,” Crowel says in an email interview. “It’s a lot of days I don’t even leave my spot and just make music all day and night. That’s pretty normal for me, honestly.”

A member of the popular local hip-hop group Deep Rooted, Crowel calls himself a “labaholic.” Deep Rooted has been on recent hiatus, but he’s kept busy. From July 2010 to May 2011, he released two full-length albums and two EPs. Now, he’s working on six more releases, including a second full length collaboration with LMNO, a member of L.A. hip-hop crew The Visionaries. He’s also working on the next Deep Rooted album, which he says will be completed this year.

This month, Crowel will drop Welcome to the City, a self-released digital EP that finds him collaborating with a young, untested local producer named AbJo. They see the EP as an ode to their hometown.

SD Reader: Gonjasufi Interview


Not written by me (I’m not a huge fan of the Reader after reading about these shenanigans), but The Reader published a short interview with Gonjasufi in anticipation of his upcoming album, MU.ZZ.LE. It’s a pretty entertaining read. Check out a snippet below and read the full article here:

Is MU.ZZ.LE following in that vein?

That one’s all singin’, you know. Anyone who follows my older shit, MU.ZZ.LE is more like Sumach than anything. I feel like this is my first record. I love this shit, man. I have my wife on two songs with me, and I’m working on her record right now [BlackHaleMary]. All the production on MU.ZZ.LE is me and Psychopop from Daygo. He’s part of a group called Skrapez.

But, essentially, at the end of the day what I want to be able to do is put out my own records the way I want to put ’em out without having to conform to anybody’s box. And in order to do that — and I love Warp, I nurture that relationship — but I can’t allow any label to box me in and suffocate my expression. Know what I’m saying? So as far as Warp putting out the record that I want, ultimately, the complete me, I don’t know… That’s what I’m working toward and I’m hoping that they’re open to that shit. I’ve turned in a lot of songs lately and they’ve shown interest toward piecing together another record to follow up after MU.ZZ.LE. So, we’ll see, man… I don’t want to have to make up an alias and shit, and this is this style and this style. I just want people to grab my record and know it’s all kinds of crazy, different shit, and that’s why they love buying the shit, because it’s just whatever the fuck.

Best San Diego Rap, 2011


The obligatory End of Year list. As far as San Diego rap music goes, 2011 wasn’t as good as 2010. Deal with it.

Here are my choices for Top 25 SD Rap/Hip-Hop Songs in 2011. The only rule I had was that there was only one song per artist (features don’t count against an artist, but that turned out not to be an issue). They’re arranged loosely in order of what I’ve written about most recently, except for the first two songs which immediately popped in my head as highlights (which is extremely ironic because I get the feeling that neither of those artists like me all that much). You can click the link for each song to go to the original post where you can actually listen to the song in question.

And hey, why not? A few non-SD album recommendations after the jump. Read more of this post

Editorial: On Brother Nature and Quan’s Biases

UPDATE: I guess I’m still not being clear enough. I said this in the comments section but I figure I’d bring it up to the top of the post for the sake of clarity:

Like I said, I’m only trying to lay my own biases out on the table. This isn’t to diss them. Actually, it’s the opposite. I’m warning you that my previous dismissal of them really WAS unfair. Their music forced me to ask myself, Do I not like this because it’s bad or because of some other personal biases? And I’ve now recognized it was the latter.

Reader William_will brought up a good point in the comments section of the previous post on Real J. Wallace’s new EP. I had tried to respond in the comments section but my response turned into a long-winded essay that was too big for a comment so I’ve reproduced it here. Also, shout out to reader Tomham for the Blues vs. Jazz comment in that same post. That’s on some next level spit.

William_will says:

I’ve seen you review thiss guy a few times & your reviews have made me pass on his projects, after listeing to this and giving Real J Wallace a chance I come to find he is witty honest and a breath of fresh air. I find it odd that your site seems to love “ganster” rap and all its vulgarity and mislead truths but you talk down honest & crative music such as this project. I’m interested to see what you will say about this Godspeed JahBless project I just downloaded from the other cat from Brother Nature. I understand difference in taste but damn Quan Vu you really do have some sort of unspoken hate for these guys.

“Hate” is pretty strong but here are my biases, the best I can figure. There are a lot of factors at work here and I’ll try my best to address them.

In regards to gangster rap, yeah, I mean, I’d be lying if it were as straightforward as there just being a lot of good gangster rap. My “love” for gangster rap is at least partially a political statement. Gangster rap is dying and most people are saying “Good riddance” to the vulgarity, violence, immorality, etc. But I got this strong fear that the death of gangster rap also equates to a silencing of the voiceless people that gangster rap is supposed to speak for. I’m a fan of Kanye but the celebreality rap that he popularized just worries me more that hip-hop is getting less and less connected with actual people. There are for sure plenty of issues with gangster rap. But there’s still this general idea that they’re at the bottom of society and their they’re trying to come up, which is something I can get behind.

About Brother Nature, I’ve met them but I don’t really know them personally. They didn’t like steal my girlfriend or get me fired or anything. At one point, they did correctly call me out for not really being in the scene, going to shows, etc. and I’ve tried to be better about that since then. This isn’t a personal vendetta, but I’d understand if you took it that way.

Anyways, yeah, I’m biased against them for a few reasons and I might have stated them before. Read more of this post

CityBeat: Lil Spank Booty rocks the cell


Loot Hungry by mitchyslickbiz

You might have thought I was just being lazy by not blogging lately when really I’ve been busy writing baller-ass shit like this and also losing my fucking mind.

This is the best article I’ve ever written. After you read the full article here, you can send mail to Lil Spank Booty here:

Maurice League
J59282
Salinas Valley State Prison
Fac. B2-218 / PO Box 1050
Soledad, CA 93960

A grainy YouTube video shows a cell in Salinas Valley State Prison in Monterey County. Maurice League, a hardened street rapper with braided hair and tattoos covering much of his body, sits on the bottom bunk, no mattress.

League, aka Lil Spank Booty, tiredly wipes his face and shakes his head. In his right hand is a metal utensil, in his left a red plastic cup. He puts his hands down to the hard bed surface to bang out a beat, using the utensil as a cymbal, the cup as a snare and his left palm as a kick. Then, he spits a heartbreaking verse about the trials of incarceration. Abandonment from loved ones. “Zombied-out” inmates on prescription drugs. Abusive corrections officers. Suicide.

Access Sez So: Album Review: Stuntdouble & Tenshun – The Ballad of Shawn T. Nelson EP

Wes has been locked in his basement listening to this 7-inch and writing the great American novel a review. Now, he’s back with a vengeance.

Just a few a months ago, one of my favorite San Diego releases of the year dropped with a bang! And while it’s just a 7-inch EP with a mere four tracks, it’s a little release that had big things to say!

After their last album, Don’t Have to be Drunk To Tell the Truth, was released back in 2007, Stuntdouble and DJ/Producer Tenshun continued to perform locally, maintaining their presence around San Diego’s underground scene. Tenshun, as a solo act, has worked steadily on pushing out releases independently and through several other indie labels as a following of fans of his drum heavy production continues to grow. Stuntdouble remains equally busy juggling back and forth between school, work and family life, recording songs between releases, sometimes with other producers. Unfortunately, as the years passed, the material and the hours put into said sessions had become all but an afterthought for the emcee, and sadly those tracks may never see the light of day. Over the years, I would see both artists here at Access, and I’d always be eager to hear anything new and if they would at least hint at another release together. Finally, after a few delays over the summer in which the plates to press the brand new EP on vinyl were denied due to sampling issues, their long talked about return is here!

Stuntdouble didn’t set out to make an EP about how “fine” his city is with some half-assed anthems your friends can chant the words to at house parties. “Welcome to San Diego. Now go home.” These words are printed directly on the label of the record itself and this pretty much sets the tone for the rest of the EP. The Ballad of Shawn T. Nelson is a release filled with political connotations and the social commentary fans have come to expect from the fire-bearded and equally hot-tempered emcee. It’s aimed specifically at life in San Diego, from the perspective of the average citizen, and not some pamphlet-pushing tour guide who can’t wait to lure visitors on a tour bus to “America’s Finest City,” as it is so affectionately dubbed by the media. As an outsider myself, living in various neighborhoods amongst this city’s inhabitants for the last ten years, “America’s Finest City” is a term that definitely feels outdated. Read more of this post

Interview: Dannu of The Visionaries


I published this interview with Dannu last week over at SoundDiego but it only got like 5 Facebook Likes, which is pretty much how I gauge an article’s popularity on there. Dannu is the lone SD native of The Visionaries crew. After 15 years in the game, he put out his first solo album, Virgo Summer, early this year. And I finally got around to publishing this interview. You can buy Virgo Summer on Amazon (sorry, Access is currently out of stock).

SDRaps.com: It’s been a long time since you started rapping, and now you’ve finally dropped your first solo album, Virgo Summer.

Dannu: I’ve always been a team player-type person. I never thought that I would want to be a solo artist, but everyone was always telling me, “Hey, why don’t you put out a solo?” And I never wanted to. But once we had our little “break” from doing Visionaries stuff — everyone started doing their solo stuff — I started doing songs with certain people. I did a lot of songs. I chose all these for Virgo Summer because they had this mood. I finished it completely — mixed, mastered — I wanna say, 2009. And then something happened with my masters: They got jacked. Imagine your life’s work on your computer and it just crashes. It wasn’t a crash, but it got jacked. So I had to re-do every song from the ground up. At the time, I was pulling my hair out, but it actually worked out, because the time it took for me to build to that point, I had memorized most of the lyrics already. So when I went back to re-record them, it sounded better because I wasn’t reading from my book. I was able to express it more.

And I actually was gonna put it out myself, because I was already working — nothing to prove. I was like, “Let me put it out so people know a little bit more about me outside of the Visionaries.”

SDRaps.com: But it got put out on Soulspazm, right?

Dannu: It got put out on Soulspazm digitally. And Fat Beats picked it up and produced some CD’s for me. And that was all from the help of DJ Rhettmatic. He was one of the ones that was really encouraging me to do my solo. He’s basically the co-executive producer for my album. He got a lot of things done on the outside of making the music. And, of course, he did some tracks on there.

SDRaps.com: You mentioned you were aiming for a certain mood. Can you expand on that a little as far as what sort of mood you were aiming for?

Dannu: Basically, everything I wrote was always during the summer. The way I am, I’m not like a super-aggressive kind of personality unless I get pissed off. I basically wanted to make it like–I mean, I like groups like Dwele, like “vibe-y” kind of music. That’s what I wanted to shoot for.

SDRaps.com: Like the neo-soul school?

Dannu: Just soul, period. When I grew up, that’s what we used to call it. We didn’t call it rap music or hip-hop music. We called it soul music. I wanted to give that vibe to where you can sit back and chill to it and drive to it, or clean your house to it. There’s some songs on there where I’m a little more aggressive, but I kind of wanted to reach more toward the people that wanted to chill. And, really, I was directing it really toward females, the hip-hoppers that are female that like to chill and listen to vibe music like that. When you go to concerts like Erykah Badu and Jill Scott, you look in the crowd, and there’s mostly females. And to me, they’re the most critical out of all music lovers because if you’re wack, they’re not even gonna listen to you. And for me, I wanted to reach that crowd because we’d already reached what we did with the Visionaries. I just kind of wanted my own lane. I’m not trying to be like LL Cool J. But I wanted to be me and just chill.

And that’s what San Diego is. A lot of people say that we’re real laid-back, and it’s true: We are. It’s our culture over here. We’re not too far from the beach. We’re not too far from the mountains. Downtown isn’t that far, there’s no traffic. We’re not always trying to rush to get somewhere, like L.A. is. We’re just like, “Alright, we’ll roll. We’ll go out and do something. Let’s go out, have a BBQ or something.” I was trying to bring that out in my album.

Brief Notes on 2011 SDMA’s


I’m back. Sorry for the short absence, but you know how it is, I just get burnt out sometimes (also, I was spending way too much time watching Sons of Anarchy on Netflix). Thanks for understanding and coming back.

The SDMA’s went down this past Monday. It was better this year than last year for a few reasons:

  • As you already know, the hip-hop nominations were substantially better this year than last.
  • SoundDiego had me covered on drinks to burn away my feelings of douchebaggery as I stood surrounded by elbows grossly rubbing up on each other.
  • I finally met Dominique aka El-Gun Legro.
  • 1019 the Numberman became the first person to get the whole point of this website, which is for me to make rapper friends who will throw women at me on general principle. Unfortunately, we couldn’t find any Asians around and I like to keep it real in terms of interracial dating (damn, I think I’ve already referenced Common).
  • I’m no expert, but I like Little Hurricane.
  • The announcers for each hip-hop award miraculously did NOT cheese it up with their outsider status. Good move.
  • Vokab Kompany won “Best Hip-Hop” and played “Ridin’ My Bike (Mr. Ridley remix)” as they came up to the stage. They also shouted out Ridley real quick.
  • Blame won “Best Hip-Hop Album.” Unfortunately he wasn’t there due to some communication issue (no, he did not snub the SDMA’s like I thought). But fortunately, this other North County rapper, Change, rushed the stage and said something to the effect of “Yo, I just wanna say, thank God it wasn’t MC Flow again. This is for real hip-hop!” And while I want to stay away from continuing to use MC Flow as a punching bag (because she’s entirely too nice and I think she’s putting music on the backburner anyway), I am a fan of rappers rushing the stage at awards shows.

I mentioned before that, in the grand scheme of things, the SDMA’s don’t matter too much. MC Flow has won several SDMA’s and even she’s said that the award itself has had little effect on her career. I doubt that Blame will suddenly start caking after this award though that’d be cool (um, buy Endurance here though). But I think it’s useful, at least for the hip-hop community, to look at as a sort of report card for the local entertainment media to see how we’re doing in our coverage. And I think having good media coverage is one of the pre-requisites for fostering a healthier scene. Hopefully, next year will be even better.

Interview: CJ, President of Wrongkind Records, pt. 2

We continue our talk with CJ, president of Wrongkind Records. In part 2, CJ runs through San Diego rap music history from Gangsta Ern to Filtered Souls. Then we shift gears, speaking on the gang injunction and its relationship to the recent spate of violence in Southeast San Diego.

SDRaps.com: Let me go back. You said you used to work at Fam Mart. You probably know tons of San Diego rap history.

CJ: And another thing: I know whose CD’s really sell and whose don’t. [laughs]

SDRaps.com: I don’t even know where to start. I wanna ask you who has been hot every year since–

CJ: The first three rappers that I could really say in the early ’90s that had city-wide recognition: Big June from Skyline, Green Eyes from Lincoln Park, and Gangsta Ern from the Brims. Gangsta Ern by far was the city superstar. He was HUGE!

SDRaps.com: This was way back.

CJ: This was ’91, ’92. These dudes go back to ’91, ’92.

SDRaps.com: They were first rappers with city-wide recognition–

CJ: –that put out CD’s. You know, because there were dudes that rapped that didn’t have a CD out. When Gangsta Ern had a CD out and he was a superstar, people knew Black Mikey could rap. And you heard Black Mikey rap but you heard Black Mikey rap in person. He might be at the playground in Bay Vista, there might be 40 people around him listening to him freestyle. You knew Damu could rap. But they just didn’t have records out yet. But yeah, those were the first three that really had a song that people knew throughout the city. Gangsta Ern had a song where, when you threw it on at a party, the party went HAM. The party would explode when you put that on. Read more of this post

Interview: CJ, President of Wrongkind Records, pt. 1

Wrongkind Records turns 10 this year. To celebrate, Wrongkind is re-releasing the album that started it all for them: Mitchy Slick’s debut, Trigeration Station. I spoke with CJ, the president of Wrongkind, a couple months ago. I published some highlights last week on SoundDiego. But here’s the full interview in two parts.

In part 1 of our interview, CJ talks about the origins of Wrongkind and Mitchy Slick and the interesting ways in which their popularity has spread nationally. After you’re finished, be sure to continue onto part 2.

SDRaps.com: Why did you feel the need to start your own label in the first place?

CJ: I actually had been living in Los Angeles. I was staying with Xzibit. From being up there and around his situation, I picked up a lot of information about the music business and about the industry — how things are done. From being around the industry, I figured I had gained enough knowledge to start my own situation. Also, I worked at a record store for awhile. I was the type of person where I really studied the game, studied the music business. And I saw that one of the people that really had a lot of success, businesswise–and coming from a city where there was really no music business there previously–was Master P. Read more of this post