вот для обоев 100% подходит

( SOUL ASSASSINS STUDIOS, не хуже pawn shop press )

Psycho Realm presents: El Chavo y El Ferruco - Rap en Espanol (2005)

1. probando tetas - 3:08
2. el surtidor - 3:54
3. streets platoons - 3:46
4. narcos y pericos - 5:29
5. la placka - 3:50
6. chavo yo - 3:01
7. l.o.s. - 3:32
8. rock la vida - 5:06

тут

hehe welcome

-Цитата от KrossTie

тут

Оперативно.. ))

...

я старался

бля вот что я называю быстрой доставкой , доплотил 2-3 бакса и диск уже тут (из US)!

+1

hehe,wrods of wisdom SOUL ASSASSINS :

Хех, фспыжжжка зОгадила весь кавер

-Цитата от sickdog

бля вот что я называю быстрой доставкой , доплотил 2-3 бакса и диск уже тут (из US)!

Кхм, пустую коробку что ли прислали??? (третий аттач)

hehe диск ИГРАЕТ , бля щас как будто в 2000ый вернулся ...

-Цитата от sickdog

бля вот что я называю быстрой доставкой , доплотил 2-3 бакса и диск уже тут (из US)!

на 3ей фото...автомат как ппш..

бля чё я тут нарыл

http://www.youtube.com/watch?v=zMAmG8vBT1s

лоль

во бля что нарыл house of pain soul assassins tour back in the days ... 1.30min

http://www.youtube.com/watch?v=6S5afbTzhWk

Закачал, посмотрел - прикольное видео

soul assassins tour.... проысто афигенниший тур был... вот впечатления одного счастливчега тех времён :
HOUSE OF PAIN
LIVE EXPERIENCES
SOUL ASSASSINS TOUR
SAN DIEGO CAL.

The best concert I ever attended was the Soul Assassins. The Whooliganz me out with thier Lattenier jerseys and kicked off the concert with some dope beats, gettin the house pumped up. Then Funkdobbiest came out and sang thier smash hit bow wow wow. During the break when Fundobbie was finished, Danny Boy was walking through the crowd. I was like ten feet away from him, the next thing I saw was some fool from the crowd get right in Danny's face.

Danny Boy got like nose to nose with him, meanwhile I was yelling knock that mother fucker out. Danny Boy was gettin ready to punch this surfer boy out, when a bunch of sucurity guards came and broke it up. I guess this was like a warm up for House Of Pain's performance that was coming up next. It's the House Of Pain, It's the House Of Pain, thats what I heard for about 10 minutes before Everlast and Crew came out. Everlast was sporting a T-shirt with an Ireland flag on it. There performance was incredible, these guys are legendary entertainers. The night was over because Cypress was coming up.

The smell of MARIJUANA lingered through the air. Cypress also had a great performance, they rolled out a giant JOINT. At the end of Cypress' performance Everlast and B-Real were singing together. Lots of the performers were up there moshing to the grove of two of the best rappers in the world. Next, some idiot from the crowd tried to rush the stage.

Everyone started kicking the shit out of this guy. People from Funkdobbie, House Of Pain, and Fat Joe were wailin on the guy. Then B-real got into it with the guy and Everlast wanted to jump in and help. But everlast still had the mic in his hand and was rhymin. This was the best night of my life.


эх еслибы кто тогда додумался бы это всё на двд выпустить ... весь тур... цены бы небыло..

Here's the fourth article. Covers some CH stuff also.

-Mike

Rolling Stone November 11, 1993
by Danyel Smith

PARTY OUT OF BOUNDS
On the Bus and Out of Control with the Cypress Hill -
House of Pain Tour

For a moment, the show is over. Cypress Hill, the mostly Latin hip-hop trio whose name has become synonymous with marijuana, is taking a break. B-Real, 23 and the band's lead rapper, is tucked away on the tour bus on the way to Milwaukee, while the group's 24-year-old DJ and producer, Muggs, is knocking back a tall shot of Crown Royal with his low-calorie beer. Cypress Hill's other rapper, Sen Dog, 28, leaves the hard stuff alone on this humid night. The two have stayed behind to shop for records and visit family. They're seated at a slowly revolving bar in the Hotel Monteleone in New Orleans.

Before separating, the two of them talk about the old days, about just how long they all have been B-boys. About how the crew toured for free, opening for Naughty by Nature in the summer of 1991. B Real, Sen Dog and Muggs, in an old van, followed Naughty's tour bus across the country, putting themselves up at motels when they could afford to. The trekking worked: Their debut, "Cypress Hill," a compilation of two-years work, went slowly platinum. And their second album, the recent, already platinum "Black Sunday," recorded in eight weeks, debuted at No. 1 on Billboard's pop and R&B charts. The paranoid songs on both albums -- about guns, smoking week and watching one's back -- made the hip-hop nation rise its eyebrows and take notice, if not notes. Now Cypress' pulsing, erratic sound is much imitated, and Muggs produces music for everybody from Ice Cube to the Beastie Boys.

This time around, Cypress Hill are headlining. Called the Soul Assassins tour -- with House of Pain, Funkdoobiest and the Whooliganz (all managed by Happy Walters, a 27-year-old Jewish Hoosier) -- it's perhaps the first rap tour in history in which African American performers are most conspicuous by their absence. From Houston to New Orleans, Cypress Hill perform like maniacs and smoke every blunt as if it were the last one ever.

Near the Rice University campus, Houston is bland. It looks wholesome and plain, like dry wheat toast. In front of one of the oldest hotels in the city, an already full van awaits House of Pain's lead MC, the goateed, New York-Irish Everlast. He finally appears, raucous and unapologetic, with a young woman from Dallas. Her black hair falls down to her waist, her breasts rebel against the confines of a complicated halter top, and her face is powdered with Revlon colors. She is almost florescent with the dazzling glow of a Girl That Got Picked.

The rest are there: B-Real, with his braids fuzzy from sleep; the boys of Funkdoobiest -- Cypress Hill wanna-be's from Los Angeles -- as well as the young rap duo Whooliganz; plus management types. Everybody is drowsy and quiet except Everlast. He expresses loud opinions on the rap magazine The Source, the tour's shows and various record labels. He says the word nigga casually and often, as emphatically as your average brother or your average redneck.

Tonight's venue is a place called the Unicorn Ballroom. A Big supermarket in a previous life, the makeshift arena quickly becomes dank with teenage perspiration and marijuana, clove and tobacco smoke. The crowd is about a third each black, white and Latino and about 4-1 male to female; without music as a catalyst, the mass begins moving. The fiercest and most devoted of the crowd hit the pit, surrounded by a panting, less gymnastic throng. The promoter says it's a full house at 3,700 people. Walters says it looks oversold.

When the Whooliganz emerge -- two adolescent white boys rapping hardcore over B-Real's production -- the pit surges frantically in reaction to the bass. The house responds to them; the place teems. People pass out or get knocked out, and security guards in mustard-colored shirts and blue latex gloves carry off the unconscious. As if they were wounded champions, the insentient kids are cheered by the crowd. By the time House of Pain come on -- and later on Cypress Hill -- you don't have to be moving to be sweating, even backstage.

Between sets, the performers eat little of the thick crew food: barbecued beef, bright-yellow potato salad, guacamole, enchiladas and coleslaw with raw white onion, dill-pickle chips and jalapenos. They walk around instead, mopping their sweat with white terry towels, gulping bottles of Evian, smoking. B-Real, silent, groggy and a little big high, has changed into his performance gear: black jeans, black boots, black knit cap. His black T-shirt reads Life Is Short, Smoke Hard. He watches Funkdoobiest and House of Pain from a quiet spot, and when it's his turn -- after Everlast, his cartoonish crazed-convict look and demeanor honed to a science, has fired up the crowd with his hoarse, desperate rhymes, and it is glowing and hot, ready to consume -- B-Real dashes out, going ferociously through "How I Could Just Kill a Man" and "Hand on the Pump," then running back off, exhausted. He hangs his tongue out in universal sign language, and somebody hands him water.

The show goes on, and the vibe is more rock than rap. B-Real's strident, hypnotic whine is echoed by Sen Dog, always the co-singer, who backs up Real with a haunting baritone. Muggs is up high on a platform, behind the turntables, near the giant, hanging marijuana leaf made of horse and cow bones. His dais, embellished with what looks like human skulls, is like a throne, and he cuts and scratches, spinning records, giving the crowd something other than the bass to feel. Fifty minutes into the 60-minute set, B-Real rolls out and unveils a gigantic thumb and forefinger holding a huge, smoking joint, and the crowd bucks with excitement. They want to prove to Cypress, it seems, that they are clear on the concept.

There are rumors that Treach from Naughty by Nature will be at the show because he is in Houston co-starring in a movie, Jason's Lyric. After a short lecture from B-Real about other rappers he thinks are "fake," Treach walks onstage, freestyling. Everlast joins him. B-Real sits on a monitor, exhausted, grateful for the diversion. Cypress close with "Insane in the Brain," and B-Real, tall and gangly, polite and intent, is off, back in the fume- filled tour bus, hitting the week.

Interstate 10 runs from Los Angeles to Jacksonville, Fla. From Houston to the Texas-Louisiana border, it's a gray line cutting through a dusty tapestry of car dealerships, carpet warehouses, La Quinta motels and McDonald's billboards. The highway cops drive IROCs.

"The hard thing about hip-hop is that on [follow-up] albums, kids want hear last year's shit, but different," says Sen Dog, a Cuban ("black, just not American") whose actual name is Senen Reyes. He looks through the long, tinted window at the occasional patch of Texas scenery. He says the only other thing he would like to be doing is playing professional football. He was a running back at Los Angeles' Centennial High 12 years ago and received letters from college recruiters. "Maybe if I had stayed in school," he says. "But I started fucking up hard. Drinking, cutting school, going through a rebellious stage." Sen played semipro ball as recently as 1992, with the Bellflower Bears. "Defensive back," he says. "Those running-back days are over."

Sen moved to the United States from Cuba with his family when he was 5. His accent is strong, disarming. He and B-Real, aka Louis Freese, who is Mexican and Cuban, go in and out of Spanish frequently. Muggs (Larry Muggerud) is of Italian descent. "Cypress doesn't focus on being Spanish," the DJ says. "There's my brother, [former Capitol recording artist] Mellow Man Ace, A Lighter Shade of Brown, Kid Frost -- they concentrate on Spanglish lyrics, the whole thing. Cypress would rather concentrate on saying something important."

Such as? "Not necessarily world news," Muggs says, "but something people can relate to. For example, everybody told us the crowds in Japan would be kind of conservative. But it's like, onstage, you just have to not be embarrassed to show out. You can't be afraid to dance, to clown. They feel you letting go and just acting the way you feel. Then they start flipping each other and shit."

He wonders aloud about how people might relate to the gun images -- "Cock the Hammer" comes to mind -- and Cypress' notorious stoned lifestyle. "I started hanging out with B-Real 'cause he was friends with my brother Mellow," says Muggs. "They're younger, but I hung with them anyway because they weren't afraid to do crazy shit." Crazy shit? "Gangbanging. Getting drunk. People might think that shit isn't normal. But in our neighborhood, in Southgate, it seemed like everybody was doing it."

"Policia," Sen announces calmly to Joel, the bus driver, and Joe slows down as his radar detector beeps. Sen goes to the back of the bus, where the 24-inch bong rests and the television with the video games sits. "The guysspend a lot of time back there, playing those games and smoking," says Joel. "It's a distraction. You can get wrapped up in your own mind real easily out here."

B-Real chomps through an ice-cream sandwich while sucking on a handful of Jolly Rancher candies. As the big silver tour bus pulls out of a gas station in Prairieville, La., he says, "It's hard to breathe out there," commenting on the sweltering afternoon. Then he begins to meticulously clean resin from a glass bong with a tissue and a bottle of peroxide from the bus's first-aid kit.

You could almost say that Cypress Hill's mesmerizing sound -- B-Real's nasal incoherence, Sen's haunting echoes -- is a byproduct of the smoking plant. The band members even say that not one song on their new album was recorded while they weren't high. (Then again, that could be the case with a lot of bands.) But "it's not a plus in our lives," B-Real assures," it's just a part of our lives. It may enhance an idea, but we can be creative without it. Anybody who needs it to get creative in this business needs to get out."

Louisiana is suddenly much greener than Texas. Once in New Orleans, Cypress Hill's tour bus, sandwiched between House of Pain's in front and the Whooliganz and Funkdoobiest's bringing up the rear, rolls out onto a boulevard called Elysian Fields toward the University of New Orleans' Lakeside Arena. The silver buses pass Brother Martin High School, the Archangel St. Raphael School, a place that sells shrimp po' boys and doughnuts, three for 65 cents.

In New Orleans, the crowd is less frenzied. The temperature is lower here, for one thing. And B-Real is rested. He is commanding the stage, stalking it. Sen is in fighting form. He's in B-Real's rhythm, aware and on top of his every rhyme. Sen stops frenetically through his occasional verse, his easy smile never appearing onstage. Muggs comes down from his podium and hypes the crowd through the mike. Eric Bobo, Cypress Hill's sometimes percussionist, tonight on bongos and timbals, breaks a stick and goes right back to his knuckles and the palms of his hands.

Perhaps a bit more goes on in New Orleans than in Houston, but the Houston crowd was fanatical, cohesive. In New Orleans, the racial breakdown is about the same, with maybe a fewer blacks and Latinos. "Everybody in this house is a bad motherfucker," B-Reals yells. And the college kids, almost as anxious to confirm him as the working-class teenagers in Houston, crank it up a bit and start flipping each other, just like Sen likes them to. "We find honesty in the hardcore," B-Real will say later. Truth is the central, unyielding part of hip- hop. "And we vibe off the audience as much as they vibe off of us."

"We ain't going out like that/Not going out like that," Cypress Hill are now rapping onstage from their hit "I Ain't Goin' Out Like That," the second single off Black Sunday. B-Real's got his hands pointed straight up at the ceiling, then out toward the thrilled crowd. What matters at Cypress Hill shows is not the words, camouflaged in concert by screaming fans, electronic distortion and marijuana, as much as the intoxicating loudness, the plentiful perspiration of abandon and the blissful freedom of imagined power.

Sen asks me how the show looks from the audience.

"Big," I say.

"I always wonder."

The dance floor is packed. Red and blue lights filter through cigarette and bud smoke. This is where the party's at, where the bass vibration is best felt: Boommmm! Right in the chest. Groovin' with my freak o' the week when suddenly I hear Mike check, one, two, and the DJ drops a funky instrumental. An MC is in the booth, coaxing the other rhyme-stylers to come to the mike and give up the freestyle.

The feeling of being in a lyrical battle almost equals the crunch of fresh loot in my pocket: When my flow comes, I don't lose a beat, I don't stumble. Breathing is smooth, and my mouth makes sense of random thoughts, metaphors, and one-liners. Heads nod when it gets humorous. As KPWR's Suggah B has said on Baka Boyz' Friday Nite Flavas (a Los Angeles radio show famous for call-in freestyle sessions), "Anyone who claims they're an MC and don't freestyle is like someone who claims to be a graffiti artist but can't catch wreck on a building or a train-just on canvas."

With the proliferation of crews like Tha Alkaholiks, Wu-Tang Clan, and the Roots, it definitely seems like freestyle is back-but it's far more than just a trend. Freestyle is the ultimate test of mike skills. Heads are tired of rappers who claim to "keep it real," but won't or can't rock the mike off-the-cuff.

The meaning of freestyle varies from crew to crew. Per Kool Keith, all the cuts on Ultramagnetic MC's' legendary Critical Beatdown were
freely styled. "Me and Ced Gee scribbled spontaneous rhymes, looked them over, made edits, then laid them," says Keith. "They was
wild-styled rhymes that didn't adhere to a particular concept."

But Supernatural, who won the New Music Seminar's 1993 MC Battle for World Supremacy by stringing together flawless improvisational rhymes about people's clothes, hair, or whatever was happening at the moment he was rhyming, defines a freestyle recording as "going into the studio, less pen and paper, and laying straight to tape whatever lyrics come to head." Everlast, of House of Pain fame, has held his ground in many a freestyle battle. "If you've been writing rhymes for 10 years," says the veteran lyric slinger, "there's an abundance of shit to draw from in a cipher. Freestyle is about having a good memory and changing up styles."

Philadelphia MC Tariq believes freestyling is about showmanship. "It can be entertaining, done the right way," says Tariq, who gets crazy spontaneous all through the Roots' performances. "We have long segments in our show dedicated to it."

But the epitome of freestyling is the battle. Like Tash of Tha Alkaholiks says, "It's the dunk contest of the rap game."

muggs
Super Moderator
---------------------------------------
New Album On The Way

IM NOT GONNA REVEAL WHO IT IS AT THIS MOMENT BUT I AM IN THE LAB WORKING ON A NEW MUGGS VS. ALBUM ...BUT I ASSURE ALL SOUL ASSASSIN SOLDIERS YOU WILL BE VERY VERY PLEASED..........MUGGS
------------------------------------------------------

ПИЗДЕЦ интервю

вобще ПЕРВОЕ такое интервю от маггза, он восновном так открыто и много неговорит. один из самых интереных моментов можно и обсудить.

thaFormula.com - I remember the last time we spoke you had told me that you felt Cypress Hill had peaked at Temples of Boom…
DJ Muggs - Yeah I did, as far as with what I wanted to do with it. I just did it for economical reasons after that, which is cool 'cause that's what this is all about. We all do shit to eat, but I also do shit for art to. You gotta understand too that the record becomes something you can't control. It becomes this monster homie. It becomes so fucking big that you don't even know how big it is and you have so many fucking hands in it so it isn't just three kids in charge of it no more. It's labels, the managers, the lawyers, so it becomes different pressures put on you and different people in control of your project in certain ways so that was the pressures put on Cypress. So there was some creative things you know that we might have agreed upon. Everybody had different creative ideas because you grow as an artist. Your not gonna always stay the same so over the course of 15 years I might grow this way, Sen (Dog) might grow this way, and B (Real) might grow this way, so its perfectly natural, there is nothing wrong with it. It's like being married to somebody, you're gonna grow differently and sometimes you grow together. But when you have a band that's 3 or 4 people and you're all creative artists and y'all wanna get out what you have inside you creatively, you know after a bunch of years your gonna have different views on things, which is cool but we have always tried to come back and keep Cypress what it is, but you know it grows into some other shit. You don't even imagine what it grows into after a while.

thaFormula.com - Were you happy with how the last Cypress LP "'Till Death Do Us Part" turned out?

DJ Muggs - I was happy with like 80 percent of it. There was a couple of songs I didn't care for. Like I had a couple of ideas what the song was supposed to be and the fellas had a couple of ideas of what they wanted to put on top of the songs so that's what it was. But when you're in a band you got to give and take. What really ruined the record was that when I turned the record in, I specifically did everything for a reason with the record. I did a song with Tego Calderon. "Latin Thugs" was supposed to be our first single. When I walked into the meetings, I brought Time Magazine in there. I brought the demographics to show them that Latinos are now the number one minority in America. They had surpassed African Americans back then. So I walked in and said "Latin Thugs" is our first single. They go "no we need something more commercial." I'm trippin' but I had this reggae beat that was supposed to be called "The Guns of L.A., but B-Real wrote "What's Your Name, What's Your Number?" instead on top of the song. Because it comes from a sample by The Clash called "The Guns of Brixton," I wanted it to be like some reggae/Hip-Hop like KRS, BDP reggae type shit, but "The Guns of L.A." he wrote was a different song. The song was bangin' but it just didn't fit the Cypress Hill mystique I didn't feel. The label loved it and ran with it. I told them "Latin Thugs" is the single. Tego Calderon did not break yet. The whole Reggaeton did not break yet. I knew it was there and it was big but it just didn't crack yet. I also did a dancehall song with Damien Marley so we was about a year ahead of our time with the record because a year later Reggaeton hits real big, Damien Marley becomes one of the biggest Reggae artists and then a year later Tego Calderon hits real big and Latin Hip-Hop explodes. So I was trying to show them my vision for the record. The problem is I see the future when I make music and I'm very visual in music. But when I'm dealing with people at a label who only see today and what's going on now and don't see what the next trend is before the trend is there, that's the frustrating part.

thaFormula.com - When you saw all this happening man, how did it feel?

DJ Muggs - Man it get frustrating man, 'cause you pour your heart into a record and then the label doesn't see the vision and then when the record comes out they pull back on it and then start making excuses and then you start seeing everything unfold, like the plans I had for the record. Society and pop culture started opening up just the way I seen it opening up. So the record did good but it didn't do great. The worst part is I had four singles for the record that could have just blown up. I had it all planned out and mapped out for them and they did not go to my plan.

thaFormula.com - And when the record doesn't do what it should have done...

DJ Muggs - It's our fault. The group is over and the shit is man, that I have been in control of everyone of my records. This is the first time that Columbia records wanted to take control of it and then they just stopped answering the calls and stopped doing everything and just pulled back and said "oh the shit didn't blow up." That ain't the case though. They don't know what's going on with us because they are in New York and they don't know that things move different out here. We have a disadvantage being West Coast Hip-Hop period because we don't have a black college circuit like the south where you can tour all the black colleges. We don't have a strip club circuit like they do down there where you can just hit all the strip clubs and push your records through that. All the entertainment and all the media is out of New York. All the magazines, Source, XXL, Scratch, MTV and Rap City are out of New York. So if we got something poppin' like Cypress doing a Smokeout (concert) and having 60,000 people there, nobody in New York knows how big our impact is on this culture because all the media is out there and everything is in the East. Just Hip-Hop period in our culture out here is at a disadvantage and then another thing where we're at a disadvantage is nobody clicks up because of the gangs. If your a blood rapper, crips ain't listening to your shit and if your an ese, the blacks ain't listening to your shit, and other eses might not and all this other shit. So unless you get big and (Doctor) Dre cosigns then all of a sudden everyone will listen to you because its cool. But that's another disadvantage in the West Coast.

thaFormula.com - So what's the status with the group right now?

DJ Muggs - Everybody is on hiatus right now. Everybody is doing different projects. I know Sen did a record with his brother, B-Real is doing something and I'm doing a record called creased "Khaki's" right know with DJ Skee. It's a Soul Assassins edition. We're doing two Soul Assassins records right now. Instead of doing Soul Assassins 3, we're doing one that's called "Underworld" which is just all underground MC's and were doing one called "Creased Khaki's" which brings all the influence that Los Angeles culture has brought all over the world. It's just some street gangster L.A. shit.

thaFormula.com - So after the last Cypress album did what it did, how long after did the Angeles Records idea come about?

DJ Muggs - Well me and Chace Infinite are partners in the label and we were thinking of doing a few things here and there. I had a bunch of offers for labels all the time throughout the years but I just never had time to do the shit. Then I said "we're gonna take a year break from Cypress" because that was our last album. We turned it in and we were done and they had an option on a "Greatest Hits" album so they just put the "Greatest Hits" album out without anyone involved in it. So during that year I said "I wanna start doing some new shit."

thaFormula.com - What was the biggest problems you faced starting Angeles Records man?

DJ Muggs - Its hard doing an Independent label man because there is no money. You don't have no money to work. First of all, we got with a distributor so early in the game before they even had their infrastructure set. So when we got in the game we realized we didn't have a tester product. We didn't have a product to put through the system to see what the holes in their system was. So when I put the Gza project out, we noticed there was a lot of holes in the system so we were here all day trying to patch holes and not being able to do what we needed to do to push the record. Because they couldn't get the records in mom and pop stores. They had a problem getting them in Fat Beats. They were good at getting them in Wal-Mart. So we started noticing the holes in that and then the big labels have so much money its hard to compete with them. Source Magazine ads for independents used to be $2500. Now they are like $10,000 to $12,000 because the majors are paying $20,000 for ads. It's making it so much harder for the small business man to compete, and then you got to radio and they are paying so much money for this, you got to pay more. They're paying so much for that, you've got to pay more. Then we don't have the outlets like "The Box" anymore and when Viacom bought BET they bought "The Box." They have MTV, they own VH-1. When Viacom bought BET, that was the last outlet that would play and just take chances on music. Once Viacom bought it they sent out a press release that said we ain't playing nothing that ain't charting no more. So if the record ain't charting, BET ain't playing it. So now MTV, when they cut "Yo! MTV Raps" loose, they bought BET so that became kind of like the new "Yo! MTV Raps" and there is no outlet for the music now. Now we got Youtube and all that but now its so saturated that there is a million videos and there ain't enough time in the day to go watch everything. We just keep it rolling and take it punk rock guerilla style man.

thaFormula.com - Do you think you underestimated what a major actually does for an artist?

DJ Muggs - They do a lot for you. But what it is with a major and what I have realized at this point is they're good, they got a big fucking machine but the thing is you got to go in there as an artist and when you get your budget you have to put some of your budget away and not go spend it on a house and take $100,000 and do your own marketing and promotion. Don't blame them for what they are not doing like everybody does and go and facilitate what they are not facilitating. What helped us a lot when we first signed is we signed to Ruff House which was through Columbia and Columbia had Def Jam so Columbia knew what to do through Def Jam or with Ruff House. When we were with Ruff House, Columbia did what they did, but they weren't good on a street level, but that's why Ruff House was there. Ruff House facilitated all the college radio, they had all their own street teams, they had all their own shit. So we were cool. Once Ruff House left, we lost this whole base of street teams, college radio promotion and all this shit. So if your not thorough with somebody like that, I would say if your an artist at a major take $100,000, go hire your own independent street teams. Go hire your own independent college radio, do your own little independent thing on the side and help push your own shit because they can't do it all, and as an independent our only problem here is that we have all the skills, we have all the talent, its just sometimes were lacking funds. That's the only problem with being in the independent business.

thaFormula.com - So how has it been from when you started the label up to now?

DJ Muggs - It's a grind homie, but the Soul Assassins corporation isn't just Angeles Records. We're a multimedia company. We're diversified. We have Angeles Records, we own "The Smokeout Tour," we're bringing back The Unity Festival, we're in the street wear business, we're big in the real estate market, and we have production companies. We have Cypress and so many different things and they all go hand in hand. The music business isn't just the bottom line no more because the music business as a whole is down. We're gonna have to ride it out the next three or four years until they get a grip on this technology and all this bootleggin' and they will homie, it's the wild west so in a minute they're gonna have a grip on all of it, but it's gonna be a few more years. So we don't look at ourselves as "we just make music and that's our bottom line." I'm an entertainment company and I'm a young entrepreneur so everything I do has to do with each other. Our thing is just controlling the whole multimedia and just controlling our whole infrastructure because in a minute there is only a few motherfuckers pushing real hard out here and building an infrastructure coming up and were all tied together right now.

thaFormula.com - What's the key to being independent in your eyes?

DJ Muggs - The key to being independent is you just got to put more volume of records out. You just can't put a record out a year and have an independent label. You've got to put 6 to 8 records out a year and you can do 30 to 40,000 a record, but you gotta put that volume out. You just can't put one record out a year 'cause you're not gonna be able to cover your overhead. But we're an entertainment entity. Music is just one part of our business and it's probably 20 percent of my overall thing. So I do it as an art still and I do what I want to do, so it isn't my bottom line. Whatever happens in the music game, it ain't gonna affect me.

thaFormula.com - How is the Mitchy Slick project doing for you guys man?

DJ Muggs - We just started it. See when your independent, it isn't about your first week or your first 6 weeks, you have a whole year to push a new record. We just did 2 new videos. We've got a big mixtape coming out with a big a big East Coast mixtape cat, another big mixtape coming out here. He's coming out on the new "Creased Khaki's album I'm doing, so you know the push don't stop on Mitch.

thaFormula.com - So for Angeles, what do you have dropping next?

DJ Muggs - Right now we have the "Black & Brown Underground" album which is Self Scientific and Sick Symphonies together. The new Self Scientific. The "Soul Assassins Underworld" record. Soul Assassins "Creased Khaki's." Skinhead Rob & Damu from San Diego. Those are our next five releases coming out at the top of the year. Oh and we're doing the remixed "DJ Muggs Vs. Gza" album with the DVD of the world tour we did. The whole album is remixed with two new songs.

thaFormula.com - Were all the beats you did on the GZA & Muggs album new beats?

DJ Muggs - Yeah, but I think but of them were old. The thing about it is that I found a DAT of old shit and me and Gza were just going through samples. I have samples man that I haven't even made the beats for yet. Some of the samples are like three or four years old but they are bangin'. If something is bangin' it never gets old and that's what I mean by standing the test of time. I've got samples that I haven't made beats out of yet because I'm waiting for the right fool to do them with. So those beats were done and me and Gza was just like "oh listen to this, listen to this," 'cause I know what he likes and we was playing some shit. I was going through one DAT and you know how you forward some shit like "oh that ones wack," and I went to forward one and he was like "nah go back." I was like "nah that shit is old." He said "nah I like that I wanna rap over that." So I said "fuck it go ahead homie, if that's what you want to bust on." He has a certain style of the way he likes his shit. Some of the songs I wanted to put changes in them and put breaks, but he was like "nah just leave it simple." So it's just a certain feel and style, I was really pleased with that record.

thaFormula.com - How do you feel about that type of production you do?

DJ Muggs - I can do that all day with my eyes closed. It's so simple to me. I can do it, I just have to have the right MC's that work with it though, that's all it is. It's finding the right people that inspire me to do the right thing. See when I work with you, your personality is gonna make me do a certain kind of music. My job as a producer is to bring out the best in you and what you're about. That music won't work with certain artists. When I'm making a record with Gza, we're playing chess everyday. The grandmaster in chess, everything starts coming together. The whole ideas were coming as we were making the record. See I work with you, I'm gonna make music that's gonna fit you and your imaging is gonna look like you, and everything is gonna look like you. So it's just finding the next muthafucka.

thaFormula.com - Explain the major reason behind bringing back Bigga B's Unity Festival?

DJ Muggs - Bigga B was one of my good homies, he worked for me for 3 years. He executive produced the first Soul Assassins record, he introduced me to Mobb Deep, he worked for Mobb Deep and all them. I knew Rza, but he got Rza in the studio for me. He introduced me to LA the Darkman, he helped me piece together a lot of that Soul Assassins record. He introduced me to Chace, who is his little cousin. Then I built a relation ship with Mobb Deep and Alchemist was my little homie and I brought Alchemist around Mobb Deep. So Bigga B was really influential for all the shit happening. So we were sittin' back and decided to bring back Unity. It was just like "let's have an outlet for all these young artists that we are feeling," cause some of these promoters get a little funny about letting muthafuckas play. They will use you one day when you should be on a show. So it was like, "let's do it ourselves, let's create a movement in LA." Because L.A. doesn't have a movement. You have a movement of Aftermath which I consider like Wal-mart. They are so fucking big homie that they just gobble up anything that's under them. Anything that's good out here Aftermath just gobbles it up, which is cool cause that's business. But our thing is there is a whole 'nother world out here. So we're gonna bring something back and gonna create a movement in L.A. and we've got to take it upon ourselves through all of our connections and all of our experience to help bring another life to L.A.. It has life but let's bring another outlet for these artists and let's make it thrive.

OH YEA AND FUUUCK BITCH AZZ COLUMBIAWACKASS RECORDS

Ёбт, какие новости приятные!

За интервью спасибо! Оч полезная информация там...