J-Ronin brings you 48 freestyles jammed onto one tape with the second installment of his Freestyle Files series, featuring such CRC favorites as Sadat X, Tragedy and Lil’ Fame among it’s extensive cast.
Here’s footage of the Boilerroom TV cipher session filmed at Foul Monday‘s apartment in Queensbridge from my first day in NY. DJ Mathematics was on the decks and let the crew (Mike Delorean, Foul Monday, Ruc, AG Flow, Lil Cash and more) rock over classic beats and newer stuff to showcase all sorts of styles, while ya boy Robbie “Rap Hands” gets drunk in the background. More below… (more…)
After catching the ears of a lot of people from their work on Prodigy‘s H.N.I.C.2, the production team of Joey Chavez and Bravo went on to oversee and release several impressive projects on their own Dirt Class Records label, including Product of The 80’s and The Project Kid. I caught-up with them recently yo discuss the lost art of the A&R, studio sessions and the classic bongs vs. blunts debate.
Robbie: So you guys have produced as a duo since around 2004?
Bravo: That sounds about right. We’re been making beats together since ’92-’93, but we didn’t really form Sid Roams until 2004-5. We’d been doing stuff together and then for a long time we were doing beats on our own, with Joey on the west coast and me in New York.
Joey: Both Bravo and I started off working on the first [unreleased] Dilated record in ’95-’96…
Bravo: We all grew-up on the west coast – me, Joey and Ev – we were all in the same neighborhood in Venice. Joey and Ev went to junior high-school together and then we all went to high school together and we all started making beats and Ev was rhyming. We had been in QDIII’s studio, which was next-door to Ev’s house and he had a monster studio. It was like walking into a spaceship! Lights everywhere, it was like being on Star Trek or something. We met Al[chemist] through Ev. He was also a rapper at that time, back when we were kids, but as things progressed Al really took the helm with the beats. By the time we all got out to New York, Al had a good jump on that whole Queensbridge scene, so we passed him a beat CD around 2003-2004 and he played all that stuff for Infamous Mobb. That’s how ‘Who We Ride For’ actually happened. They thought it was a beat that he made and they just flipped on it and recorded it. He played us the little demo and it sounded crazy, so we all met up and started building. (more…)