Carl Verheyen: Free as a Bird

Unless you have been a fan of the British prog-rock outfit Supertramp since 1985 onward, you have probably never heard the name Carl Verheyen, who is that band's current lead guitarist; however, you are probably more familiar with some of his work than you realize. Carl is a versatile and constantly traveling musician, and has been an uncredited contributor to many popular commercial jingles and television theme songs. Carl spoke with Quart of Ballantine to talk about his latest solo album Trading 8s and to share some of the insight he's acquired from over two decades of making music.

How long have you been a solo artist?
Well, I have done my own band pretty much since 1988. but we didn't get on the road until 1997. Then I started touring. I got going in Europe pretty well in those days, and just kept that going. I actually just got back from a tour that took me from Italy to Spain, to England. It was fun.
I bet its hard to come home after a tour like that.
Well yeah, but it's hard to leave the family too. So you kind of end up with a little bit of heartache. But its a lot of fun. My band is actually leaving Wednesday for a tour from Seattle, Washington all the way down to San Diego. So there's another tour coming up.
A lot of people I know have heard of Supertramp, but can't name a lot of their songs. It's funny when I start naming the songs, you see this look of recognition on people's faces and they start to go 'Yeah!' Like 'Take the Long way home..'
...'Goodbye Stranger', 'The Logical Song'...
Did you have a hand in writing a lot of that?
I didn't, because that was all written before I showed up. I joined Supertramp in 1985, and so my experience has been sort of the latter-day part of it. That's been about 24 years in the band. We just had a really cool reunion not too long ago. We played over in The Hamptons where Rick Davies lives, the leader of the band. That was really fun to go over to his 40 million dollar house; we had a great party and it was really fun to play.
Has it been hard to keep you guys together all these years?
I guess you could say it has, because we all live in very very different places. I'm in California, and one of the keyboard players is here. But the sax player is in Yorkshire, England. The bass player is in Napa Valley..it just goes on and on. Everybody is in different places.
Do you have any interesting tour experiences or stories?
Oh yeah, with Supertramp and with my own band. I've played with Supertramp in places like a Roman Colosseum, and I've watched the moon come up right in between these two Roman arches. I have played with my own band in many different places. I mean, you name it, we've played there.
What is the significance of your album's title Trading 8s?
'Trading 8s" is sort of a jazz term, and its when you trade 8 bar phrases with another player. And in the jazz era, they would have these blowing sessions where, you know, the sax player, the trumpet player, the piano player would all play solos, and then at the end of the tune, they would trade 8 bar phrases with the drummer over the form of the tune. So I decided how fun that would be..I mean, you've heard rock bands do it too. Like what The Beatles do at the end of Abbey Road. The Allman Brothers will trade 8s for a while on their songs also. That's been going on forever in Rock n' roll. What I tried to do was enlist some of my peers and some of my heroes and say 'Can you play on my record?' It was a really wonderful thing; just the spirit in which everybody came together and was enthusiastic about the project.
I've seen that you have done some instructional work.
I have done two instructional DVDs I've done two books and 10 Cd's and a live DVD. I have been around for quite a while and a studio musician for almost 30 years. You may not realize it but you hear me everyday. I am on every episode of "Cheers", I played on the movie "Up", and I played on "Star Trek" this year. "Land of the Lost", "Scrubs", dozens of jingles, other peoples records. When I am not on the road with my band, I am definitely working here in LA.
So you play the "Scrubs" theme song?
Yeah, I play the main title and the little incidental music in between cues. You won't see my name on the credits though; all you get is the damn composers name. They never list the musicians on those shows. You know that movie "Ratatouille"?
Yeah sure.
I was one of the principal soloists on that movie. Which means me and a harmonica player and an accordion player and a violinist were the principal soloists and I didn't even get a credit for that. [laughs]
Did you get to go to the premiere?
Yeah, at least I got to go the premiere and take my family.
So you do a lot of commercials as well, right?
Yeah, there is a little bit of that, but its mostly touring. When you're like me you want to go out on the road with your band. I've always felt that I have had too much music inside of me just to be a side man for the rest of my life and play jingles and stuff. I've got my own music I want get out and play. So for that reason I'm leaving town for 3 or 4 months a year. But that's OK. i look at it like there's nothing more exhilarating than playing to a live audience and the people in the front row are singing along to a song I wrote in my kitchen, you know? That's a really beautiful feeling that you cant get when you play on people's jingles and stuff.
You are known for many different styles of guitar playing. What can we expect to hear on Trading 8s, as far as styles of music?
Well there's definitely some blues on there, and then I go into a real pretty ballad. I've got almost like a James Taylor style tune which is a duet with a female vocalist. There is some acoustic stuff on there, and a ska version of George Harrison's "Taxman" and that goes into a jazz fusion jam. I have a song called "Highway 27." I wrote it because this is the road that goes from my house down to the beach. I wanted to make a tune that I could listen to in my car when I'm driving. That was the impetus for writing it.
What kind of music do you listen to nowadays?
I pretty much hear everything. I like a lot of guitar music but I'm also listening to Sonny Rollins, and Miles Davis, and jazz singers like Betty Carter. Today I was listening to some Little Richard and some Weather Report. But then again, we'll put on some bossanova or samba music and stuff like that, some Brazilian stuff, occasionally during cocktail hour. I like to hear classical music on a Sunday morning...so I really listen to a lot of stuff.
I'm sure that informs a lot of the music that you make.
I think so. I mean, if you're a shred guy or a heavy metal guy, and all you listen to is heavy metal guys, you're not really going to expand the genre because everything you've heard has been done. But if you're a guy like Jaco Pastorius, who was thinking like a guitar player on the bass, almost like classical flamenco guitar playing, he was able to take the electric bass into a whole new area.
Do you do a lot of social networking? Like Twitter or Facebook?
I do the Facebook thing occasionally because I consider that to be like a marketing tool. Getting a whole lot of fans and friends on Facebook. Every once in a while I'll mention I have a tour coming up or something like that. I have a Myspace page where you can hear my tracks. I have been holding off on twitter, but I will probably have to [use it] one of these days.
What are your thoughts on the record industry?
I have been with various record companies for 22 years, but I decided this time to make my own record, because I realized that the advances that the European labels would give me, they would pretty much make back on the first European tour supporting that record. I realized what I should do is just advance the money to myself and I will make it all back and more that way on the first tour. Which I did. So my latest record has recouped itself and its only been out a few months. In my position, not being a Britney Spears or a Rhianna, it makes the perfect sense to keep it a cottage industry and do it yourself.
Is there anything else you would like fans to know?
If you're a budding musician, be true to what you believe in, but also try to open your mind and learn as many styles as you can. That way you'll ensure yourself a long career in the music business.

I played the academy awards this year. Three days before the actual taping of the show, they came up to me and said 'Can you play an acoustic guitar version of the song "Moon River?"' Sitting on the front of the stage. They told me 'You should have it memorized [rather than playing it from the sheet music] because you'll be sitting on the front of the stage with the host Hugh Jackman. Meryl Streep and Brad Pitt and Angelina, and Penelope Cruz and all these movie stars will be about 3 feet away from your toes, and it would be better not to have a piece of music in front of you. Oh, and remember 65 million people will be watching.' So I went home and pulled out the music and memorized it and made myself a little solo guitar arrangement and I did it. If I hadn't spent the time learning jazz and different styles of music, I never would have gotten that gig. It turned out to be really, really big gig for me, financially.
Was it nerve-racking playing in front of all those people?
Well, I had to forget about the TV audience. 65 million is incomprehensible. The biggest crowd I have ever played for was about 180 thousand, with Supertramp. The Kodak theatre where they do they Academy Awards only seats about 3 thousand people. But when you add in the 65 million, that changes. So I just put them out of my mind, and looked at the beautiful movie stars.

The Assignment

When I was a child, either the age of 5 or 6, my parents asked what I would like for Christmas. My answer both stunned and amused them; what I asked them for that year was a little brother. My mother chuckled and told me 'No, that won't be happening, I'm afraid.'

7 years later, when I was 12, my parents did conceive a child and gave birth to him in November of 1995. I had gotten my wish. It was an event that would change my life forever.

When my brother, Ramsey, was born I had never so much as held a baby in my arms, but suddenly rocking him to sleep, feeding him and changing his diapers became my primary responsibility. My parents were busy folks, each of them working multiple jobs during the weekend meant that I would be home during those nights keeping my new sibling fed, happy, and alive while my contemporaries were out having fun at parties and developing into young adults. I felt a sense of loss for my freedom, but what I didn't realize was that I would be gaining experiences that none of them would be able to understand until their later years when having children of their own.

The experience of raising a person, especially as a young man myself, has been one that I have been able to carry along with me throughout my life. It turned me from a person without a care in the world into someone who was burdened with a level of responsibility that absolutely could not be shirked. I was suddenly aware of what my parents had gone though in order to make sure that I had a happy and well-nourished childhood. It was not an easy job, and I would never again take for granted the struggles and sacrifices that they endured to make it happen.



My brother is now the age that I was when he was born, and watching him grow up has been an amazing experience and one I wouldn't trade for all of the adolescent parties or sleepovers in the world. He has become a very mature and intelligent young man, and having a hand in raising him has allowed me to claim at least partial responsibility for his development; all because of sacrifices that I made as a young man, whether they were voluntary or not.

Ramsey's birth absolutely changed my life in the way that I am eternally grateful for. He is someone that I have been able to share my own experiences with, and while the contributions I have made to his worldview has been beneficial to him, they have been extremely eye-opening (and life changing) to me. Now when I think about whether or not I want to have children, I don't have to think long; the answer is an absolute and easily given 'yes.'

get happy

Interview with Tyler Mane

Tyler Mane, perhaps best known as former WCW wrestler Big Sky, is the current star of Rob Zombie's rebooted Halloween series in which he plays the terrifying Michael Myers. Having acted in numerous other films such as Troy and X-men, Mane is now starting his own production company Mane Entertainment, which will specialize in low-budget, independent films. He took a some time to speak with us about working on the Halloween sequel, discovering what makes a killer tick, and Kanye West.

You are currently starring in the new Halloween movie, and you were in the first one as well, right?
Yes, Rob's first one in 2007. I played Michael Myers and reprise the role in 2009.

Are you going to be in the next one?
We are in talks. We shall see.

So you don't die in this new one, then?
Well, it's Michael Myers. It's the tenth movie I think now, and he hasn't died yet. Who knows, maybe they will hook the life support up to him and bring him back to life. You never know.

How was filming Halloween 2 different from filming the first Halloween?
You know, the first one kind of followed the format of the original Halloween movies. It told that story along with giving the back-story of Michael Myers and how he became a product of his environment. The second one picked up where that one left off, but with the second one, you see inside the mind of Michael Myers and how he perceives himself. And it's kind of creepy that he sees himself as that 10 year old little boy just before he made that decision to go out and start killing people. So he perceives himself as total innocence. And he's talking to the only person that's ever loved him, his mother. And he feels that she’s driving his thoughts. Which, of course, is totally in his mind. And then parallel to that you have Lori Strode, with her downhill spiral into total madness from what has happened to her in her life. The second one is more of Rob's interpretation of the Halloween movies and what happens with it, and I think he's just done a brilliant job with it.

Have you noticed any differences or growth in Zombie's style of directing? He really is a relatively new director. He had House of 1000 Corpses in 2003...
Right. And then he did The Devil's Rejects where I first met him, playing the Rufus character. And then the two Halloweens.

It's just been fantastic to watch Rob and see how he's evolved as a director. The thing is, he comes from an entertainment background and he realizes what an actor needs to get the best performance out of them. He, before directing the movies, directed all his own music videos. So, he's got visualization for what he wants to see. And, working with [him] was just fantastic.

Do you have any lines in this film?
I'm gonna be doing some grunting and groaning. It's kinda funny because my wife appears in this, and she plays one of the cops-she's the one with the princess Leia buns-and she likes picking on me and getting under my skin. And she goes "How many movies have you done? 2? I have more lines in a few seconds than you had in two movies!" [Laughs]

Well, she does have a point. Although, I think fans of the first Halloween movie that Rob Zombie did would agree that you are still a very effective and terrifying villain even without speaking any lines.
Yeah, that's why I took the project. Because it was a great opportunity to give this character some depth with body movement and body language. That is the one thing that I wanted to do with it. When Rob first talked to me about it he said 'I don't want just a one-dimensional killer, here. I want to give some depth to this character so that people perceive him more as a human.’ And that's what we did I think, and it came across great. People were even sympathetic to Michael Myers.

Is there any research or preparation that goes into playing Michael Myers?
I definitely did my research. The first thing I did was go back and watch the other Halloween movies that Myers appears in and watched their performances. Not to mimic them, but to see what they brought to the character. I noticed that they were mainly one-dimensional characters, and I wanted to bring more to that. So then I went from there and started researching serial killers and seeing how they interacted in society, and people [actually] perceived them as being this innocent person that could and did interact with society. No one ever thought that that person was who they turned out to be. So I wanted to bring that to the character just with my body language and how I moved and all of that. It’s kinda funny because the "Iceman" Richard Kuklinksi, who was a hit man for the mob, had the same traits as Michael Myers. He started with tormenting and torturing and killing animals and moved his way up from there. I think that’s how those killers become numb to the fact that they’re able to kill people. There’s definitely a chemical thing in their brains too that is different than the normal person, but it was fantastic to be able to research that and just see how that does happen.

Are you a big fan of Rob Zombie’s music?
Yeah. He is a fantastic artist. It was funny while working on the first Halloween, the sound guys had one of his music videos playing, where he had the dreadlocks and he’s whipping them around and going crazy, and then I’d look over and see Rob sitting behind the monitors in his director’s chair chewing his gum, analyzing the shot. And I’d look at the video and back to Rob…it was surreal. You wouldn’t think they were the same person.

Did you learn a lot about Rob Zombie from working with him?
He’s just a fantastic guy to work with. He’s not what a lot of people think. And I understand and I get it, because when I was wrestling, people would go ‘You’re a wrestler? You’re married and have kids? How could that be?’ It’s kinda like two different worlds, you know?

Did you wrestle for the WWE?
I wrestled for the WCW and the UWF. I did a lot of my wrestling overseas, internationally. In Japan, Germany, Austria, England, Mexico, places like that.

What name did you wrestle under?
I wrestled as Big Sky and Nitron. I was in there on two different occasions, and I was Kevin Nash’s tag partner for a while.

Do you ever wish you could go back to doing wrestling?
Oh hell no.

It doesn’t look very glamorous, the way that movie The Wrestler depicted it. Plus all the stuff you hear about steroids and that sort of thing.
Yeah, it’s a wild and crazy lifestyle. I used it as a stepping stone to get to where I am today, and I’m thankful I had all the opportunities and everything, but I’m glad that I’m not stuck in that lifestyle.

It’s good that you aren’t stuck in that lifestyle, but when you think of the Vince McMahon’s in the wrestling business, they probably not too different from the Hollywood sharks that are out there.
Yeah, that’s true. That is true. You just gotta try and avoid the shark infested waters.[laughs]

You ever use music to get you pumped up before you wrestle or before you start acting?
Oh yeah, all the time. I’ll be throwing in some good 70’s rock and have that on my headphones before I go to work and do my thing. I play the Pandora classic rock station all the time when I’m working out at the gym.

Are there any bands in particular that you listen to?
I’m a big fan of Rush, Led Zeppelin, the oldies.

What was the last concert that you attended?
Probably Rob’s, the show he had back at the Staple Center. He’ll do movies, and go on tour for a while, and just go back on forth. He’s got a tour he’s preparing for right now.

You have a new production company called Mane Entertainment. Tell me a little about the new film your company is releasing, Penance Lane.
We’re in the pre-production stages right now. We’re hopefully going to start filming at the beginning of the year. It’s going to be an indie low-budget horror thriller. It’s a smart horror film and there’s a lot of twists and turns, and people aren’t who you would perceive them to be. The reason why I picked this was to please the horror fans, and also to be able to do a picture and keep the budget down. I believe as indie film-makers, we owe it to the investors to get the best return for the dollar. I’ve been in a lot of big productions where I’ve seen them just take the money out to the middle of the street, pile it up and light a match to it, so to speak. I don’t think you need to do that to make a top-quality picture. I’m using all my years of experience in the business and compiling my resources and talented friends, and we’re well on the way.

Are you directing Penance Lane?
I’m producing and going to be acting in it. I have a director attached but we’re not going to be naming him yet because we don’t have the contract signed. I would like to get into directing eventually, but I don’t think the time is just right just yet.

That does seem like the natural progression.
Yeah, and the reason why I wanted to set up Mane Entertainment is to do the indie films and keep control of the picture. So many times you get into a studio with a picture and everybody has to put their two cents in and they come up with totally absurd ideas that end up ruining the film. It becomes more about people trying to put their two-cents in so that they can keep their job than it is to put out the best picture possible. I think we owe it to the fans to do that and get back to grassroots and go smaller to get bigger. Bigger results.

Do you have anything in the pipeline for after Penance Lane?
Yeah, we have about 4 or 5 different projects that we’re looking at, in various genres. There is a book that I just finished reading that a gentleman had sent me, and I’m going to be in the process of optioning that right away, for one of our projects. There’s one that I’m working on with my wife at the present time [as well], so we have several projects in the pipeline.

Are there any forthcoming acting gigs that are separate from Mane Entertainment that you’re going to be doing?
Yeah, I just finished filming a comedy-western in Canada called Gunless, that’s coming out in March of 2010 I believe. I play a blacksmith that gets into a shootout. It’s kind of comical because it’s set in a Canadian town where we don’t have any pistols to do any dueling with. This gunslinger comes into town and challenges me to a duel. And it’s kind of comical that I don’t have any pistols. But then I do end up finding a pistol and I end up getting shot in the ass. I come out and be a hero in the end though, so it’s all good.

I know everyone is already sick of talking about the Kanye West thing at the VMA’s, and actually a lot of wrestlers have been giving their opinion on it, saying they would beat Kanye’s ass if he ever did that to them. Do you have any input on that at all?
It’s kind of unfortunate for Kanye. He’s been going through a lot lately, and it’s sad that it had to happen. I think he will look back and realize that he screwed up, big time. It’s kinda sad. I hope people don’t destroy him over it. I think he needs to get his shit together and get back on track. But, on the other hand, if he did do that to me, I would beat his ass too!

Anything you want to tell your fans?
Thanks for the support. The reason why I do what I do is for the fans. It’s great to get their input and be able to chat with them. I go on my MySpace and Facebook and talk with my fans all the time. It really is me on there. I take the time to do that, talk to the fans, and I appreciate everything they do for me.

Review: Q-Tip - Kamaal The Abstract

Way back in 2002, former leader of hip-hop/jazz fusion group A Tribe Called Quest, Q-tip, created his second solo album, Kamaal the Abstract. Abstract, with its sprawling and chunky stretches of instrumental jams, was conceived 6 full years before the interbreeding between hip-hop and other genres was as prevalent and well-received as it is today. In fact, this album was such a large departure from what was going on with rap music at the time, much less from what people expected to hear from Q-tip, that it was shelved by his label for fear of being a commercial disaster. LA Reid, who would go on the following year to oversee the release of Outkast's Speakboxxx/The Love Below (their most experimental and unorthodox work to date, which is saying a lot), didn't believe the album could prevail while The Game and 50 Cent were topping the charts with their information-age spin on Gangsta Rap.

In 2009 Abstract has finally seen the light of day that it deserves. While Q-tip's prior release just last year, The Renaissance, further explored the jazzy meoldies that have always been at the root of his music since his days with Tribe, it was still standard Q-tip through and through, with all the rubber-necking sample loops and soulful basslines that entails. Those looking for a looser version of that kind of instrumentation will be pleased with Abstract, but might be puzzled when Q disappears for noticeable stretches of time. However, the spontaneity that having such an unhinged structure brings doesn't so much hurt the album, but instead lends it a live feel which reminds you when you least expect it that anything can happen.

Things ramp up right away during the opener "Feelin'." It starts off innocuously with Qtip on the mic as usual, but its not long before the organ solo and distorted guitar get their way under your skin. Q-tip sings us out and ends the song on his own, as if to remind you that, yes, this is still his album. "Do U Dig You" features a lengthy and aimless jam-session between Gary Thomas on flute and Kirk Rosenwinkel on guitar, and sounds like Prince's lost contribution to Bitches Brew. "Blue Girl" is typical Neo-soul a la Rafael Saadiq or D'Angelo (by now you shouldn't be expect a lot of actual rhyming on this album, although there is some), until Q-tip tacks a short verse on the end out of nowhere.

Q-tip takes further chances on "Barely in Love" which suggests Sly Stone as a Schoolhouse Rock cartoon and stops just short of becoming an all-out gospel jam with its light organ chord progressions and hand-clapping, foot stomping refrain. "Heels" sounds like an attempt 311's brand of palm-muted rap-rock, draped in a goatee stroking jam-bandish rhythm. The ending of the song sounds like everyone from P-Funk is on stage somewhere singing its hook. Synthesizers somehow make a very auspicious and unapologetic appearance right in the middle of it all.

Even if it loses a bit of momentum with the last few tracks, Q-tip's Kamaal the Abstract (named after Q-Tip's self appointed nom de Islam) is pretty solid for an album that never misses a chance to take one. It stands tall next to any of the highly regarded work that his experiment prone contemporaries Outkast and D'Angelo were doing at the time, and it's avant-garde detours are what keep it fresh after 6 years. Just as the rest of the urban music world seems to be catching up with his experimental quirks, Q-tip points out, and helps ensure, that there isn't so much that's new under the sun.

Grade: B+

Sufficient Evidence

Evidence, best known as a member of the celebrated west coast hip-hop outfit Dialated Peoples, is also the newest addition to Minneapolis hip-hop record label Rhymesayers, where he will be dropping his second solo album Cats and Dogs. We caught up with Ev at the 5th element record store in Minneapolis during a record release party for Us, his labelmate Brother Ali's latest album. Ali and Evidence are currently traveling the United States for their 'Fresh Air Tour,' where they will be joined by Toki Wright and BK-One.


How did the deal with Rhymesayers come about?
I was standing right here [at 5th Element] in 2006 with Little Brother and Dilated Peoples, doing an in-store. Slug [of Minneapolis rap group Atmosphere] was standing here also. The name Atmosphere has been popping up my whole career with Dilated Peoples. Even though I wasn't familiar with their work. So I finally got the chance to meet Slug, and I was like 'let me take a photo with you.' So I took a photo and I put it on my myspace page, and that picture caused more shit, than all my other pictures put together. People started talking about how us working together would be dope to see. A lot of girls, too. I could see that something was sparking. So I just sort of kept a loose relationship [with Slug]. In 2007 when I started working on the Weatherman LP, I just got on the phone and just cold called him. Everyone on my album, I know well. I just called him and asked if he wanted to be on my album, he said yes. I asked him how much, and he said "Just make a donation in my name to this foundation". I never heard that before. So I called my label and I told them to contact him and find out what that foundation is. And, God willing, it happened. [laughs]

So, I put him over an Alchemist beat, which is something that no one had ever heard before. So I was like 'you know what, his label is working out, dude's got a following like crazy.' I called him again a few months later and told him that I was interested in looking for a home for my second record. Weathermen LP had been out and doing really good, getting put on a lot of album of the year lists...so after putting out the Layover EP, I hit slug on the text message and said 'Do you wanna do my album, check yes or no. [laughs]

So the reason I am doing this is because Slug allowed it to happen. I think they saw my work ethic and I think they thought it would be beneficial to put me in the mix, and it happened. The greatest thing out of all this is Brother Ali called me to be on this tour before having any knowledge of me being on Rhymesayers.

Really?
Yeah, just totally natural. He had all these people he wanted on the tour who weren't really working out, so he was like 'can you do this?' and I was like 'I can.' So a week or two later I called him back and was like 'Yo, I'm actually on Rhymesayers now,' and his exact quote was 'that makes this so much more dynamic!' [laughs] That was his quote. So that's really how I'm here. I had four offers from four other labels, 2 of which for more paper. But I took the right deal for the right situation because it was right. And I'm very proud to be here. Its kind of like Kanye when he joined Rocafella, you know? It's like 'Wow I'm part of something powerful and all seems to fit.'

So I noticed your albums seem to have a weather theme..
Yeah, my next one is Cats and Dogs. More rain. I'm just a gloomy person, I guess. I'm from Southern California where they say it never rains. I don't do gangster rap. I just really figure, like, the weather, where I'm from, erases misconceptions. I live in a place that's very much a facade. We have palm trees growing everywhere but we are not tropical. So, if we stopped watering those trees, they would all die. It's like an illusion where I live, like a glorified resort. And the weather is just raining on all that shit.

So it's more of like a rain theme, then.
Exactly.

So how do you spend your rainy days?
Well, I always tell people if you're from Cali, you understand how not to get sidetracked by nice weather. So I can spend a perfect 85 degree day with no clouds in a darkroom all day. When it rains, I find myself going out more than I usually would [laughs]. It doesn't happen very much so I just like to be out there.

How many albums are you doing for Rhyme sayers?
I'm going to definitely do two, and hopefully do three.

It's been a pretty good year later for hip-hop, there's been a lot of good releases coming out lately. Do you have a favorite of those, like the new Raekwon, Jay-z, Kid Cudi etc?
My favorite release of 2009 was Exile's Radio. It's an instrumental album. He only sampled radio frequencies; so if he wanted good drums he would go to the mainstream stations, and if he wanted something dirty he went to an AM station. It's only radio frequencies for every single sample. It's such an amazing album that what I decided to do was take this album and make Evidence Radio: tribute to Exile, and make the unofficial vocal version of it [which is upcoming].

So how is the Step Brothers album you are doing with Alchemist coming along?
We are about 7 or 8 songs deep right now. That's just my best friend, we hangout every day regardless of we're making music or not. I look up to him and he's learned some things from me. I think we just give each other a good balance, and I feel like that record is gonna be something special. We don't want to rush it because in the big picture it's important to get it right. We have a song called "Just Step" out there that's leaking that's major, we have a song on that Evidence radio called "It's coming down." We have a a song called "So Fresh" which is on my Layover EP. So there's a lot of stuff leaking that's out there already.

Do you think that there's a difference between the Stepbrothers stuff and collaborations that you've had with Alchemist before?
Yeah, we're doing this thing where we're not focusing on choruses. Just a lot of rhyming and if a hook happens, it'll happen. Like, if you get a DOOM record, you don't want to hear DOOM and Mary J. Blige, you know what I mean? [laughs]

Review: Drake - So Far Gone

Mainstream hip-hop seems to exist these days in a precocious era of being either unable or unwilling to escape the tendrils of last year's 808s and Heartbreaks. What began simply as an ill-advised onanistic project for Kanye West continues to inseminate this year's most anticipated projects, including Jay-z's Blueprint 3 and Kid Cudi's superb Man on the Moon, with its lightly percussive DNA. The latest release in this vein is So Far Gone by Drake, a Canadian-American actor-ternt-MC and the newest allegiant to Lil Wayne's Young Money Records. Originally released online for free in February as a mix-tape teaser to garner fans with, Gone has been shipped to record stores and online retailers this week as an EP, giving those same fans the opportunity to pay for a slightly updated version with a smaller collection of songs.

In addition to successfully undertaking the momentous task of not being overly cheesy, Kid Cudi's Man on the Moon was able to establish its own sound and identity, where it probably would have been enough to basically make another 808s for 09. While Drake clearly also has his own style, So Far Gone lacks any real edge or semblance of innovation, and eventually loses its edge altogether as it succumbs to a lazy and actually quite boring cadre of songs about relationships. The biggest distinction between his and Kanye's effort is that Drake is the one doing the heartbreaking: "And these days women make offers/and who the hell am I to say/No no no/My ex sendin' late night text/cause she don't know how to let/Go go go," Drake sings on the EP's dreadfully slow moving intro "Lust for Life", the title of which is likely to send Iggy Pop to an early grave to spin around in. It doesn't help that Drake's strengths aren't primarily as a singer, so expect plenty of pitch adjustment-'Death of Auto-tune" this is not. The mediocrity, and confusion for those who wanted to give "next big rapper" a shot, continues with "Houstatlantavegas," which leans much closer to Jodeci than Joe Budden on the Hip-hop spectrum.

The shame of it is that Drake can actually be a pretty clever lyricist when he wants to be. "Wise words from a decent man/back when i was tryin' to put a ring on Alicia hand/this lost boy got fly without peter pan/and my delivery just got me buzzin like the pizza man," he raps on "Successful", on which he manages to outshine both Trey Songz and Lil' Wayne. At times Drake's way of dragging out his syllables, through that half-cocked smile that you just know is plastered on his face can be charming, but there really aren't enough of those moments to strongly recommend puchasing this EP over the version that was made available for free back in February.

So Far Gone will certainly have its audience, however; Drake sums it up himself the best on the lead single-and incidentally the EP's strongest track- "Best I Ever Had:" "When my album drop/bitches will buy it for the picture/And niggas will buy it too/and claim they got it for they sister." Indeed, this is one of those albums that takes shamelessly transparent aim at a younger demographic whose palette has been adjusted by the impossible-to-elude robotic slow jams on today's radio, yet might find Kanye or even Jay-z's recent stuff to be a little too rough around the edges. When his official album Thank Me Later drops next year, Drake will do well to come with heavier material than this if he expects to enjoy any longevity.

Grade: C

Review: Kid Cudi - Man on the Moon: End of Day

The landscape of popular rap music has changed. As reluctant as anyone may be these days to credit Kanye West with anything, his album 808s and Heartbreak has seemingly inspired a new generation of hip-hop musicians with that album’s low-key, quasi-melodical synthesized feel. The most recent protegee being Kid Cudi, hailing from Cleveland with a style of originality which should, by now, feel familiar. That’s not necessarily a bad thing though, because the latest mutation of the “future-core” of rap expands on the whole idea. While Jay-z recently appointed himself as the snazzy trend-setting leader of this new school with Blueprint 3, Cudi’s envelope-pushing debut, Man on the Moon invents its own sort of stoner prog-rock sub genre.

Man on the Moon implicitly asks you from the very beginning to adorn your space-suit (or tie-die shirt) for an interstellar journey which most times sounds like a smoked out, chopped and screwed version of what 808s (which Cudi famously contributed to) could have been. Its concept is tied together as a 5 part epic narrated by Common, who is considerably (along with Andre 3000 of Outkast) one of the Godfathers of hip-hop’s newly acknowledged free spirited style. The end result is perhaps the most potent of all the experimental-and perhaps evolutionary-jabs that have been taken at the idea of what rap music is supposed to be.

Before we completely praise this thing, there are a few missteps. The opener, “In My Dreams” certainly could have used a second take. “Up and Away,” the end-of-the-album alarm clock, might be a bit more saccarhine than most listeners will be in the mood for. “Enter Galactic,” produced by Mat Friedman of ILFONICS, should just be a fun Pharrell Williams meets The Jimi Hendrix Experience club track, yet suffers from awkward wanna-be sex-god lyrics such as “I like when you talk because your voice is angelesque/aye, I want to kiss you on your space/below your naval-ette/the place that you keep meat so moist like/a towelette” Aside from that though, Man on the Moon really soars. The track following "Dreams," “Soundtrack 2 My Life” has a bubbly, hypnotic beat which plays the perfect back-drop for Cudi’s competently done sing-raps, and it’s lethargically upbeat mellowness sets a tone for the remainder of the album which doesn’t exhale until after the ultra-syrupy penultimate track, “Hyyerr,” is over.

Cudi’s lyrics, while not exactly versatile, for the most part uniquely reflect the struggle of an alienated loner who secretly knows that he has something to share with the world, and is waiting for his chance to express it. The lead single, “Day N Nite”, whose spacey thump was heard everywhere this year, to the point of being 2009’s “Hey Ya,” laments on having a cold season of being lonely and misunderstood. “My World” is the musing of an artistic geek who knows that his off-kilter vision will take him places :”None of ya’ll really cared about me/Now, guess what? I’m all you see/This will be my world/I told you so.”

Indeed, there are no guest appearances by Young Jeezy or T-Pain to extol the high-life or the thug mentality. Instead, this very impressive debut from the newest of the recent wave of space-rock hip-strappers, Kid Cudi, is a focused and personable work which is rife with themes of self-doubt and self-deprecation; yet just about every track on Moon gleams with crater-sized confidence in its ability to trip you out.

Grade: B

Review: Blueprint 3

“Welcome to the future,” the first line from "Off That", a self-congratulatory ode to the art of tastemaking, pretty much summarizes Blueprint 3, the latest release from rapper Jay-Z. With few exceptions, there isn’t much on the Blueprint 3 that will sound familiar to Jay-z loyalists. Last year’s 808s and Heartbreak, aside from being an uneven auto-tune festival, essentially ushered in a new sub-genre of hip-hop , that could be referred to as “future-core.” Jay-Z, featuring Timbaland, Pharell, NO I.D. and Kanye behind the boards, continues and further establishes this movement on Blueprint 3.

The weak album opener “Intro”, which is like a slower, duller “Flashing Lights” does not create great expectations for the rest of the album. However Blueprint 3 gains a certain momentum only three songs in, beginning with “D.O.A.” the album’s anti everything-currently-wrong-with-music lead single. Rhianna does an absolutley chilling hook on “Run This Town” with an eager to shine Kanye batting clean-up. “Empire State of Mind” will only add fuel to the feeling that old-school Jay-z fans have that Jay “went-all-coldplay” on this album; It’s also one of Blueprint 3’s best songs. Alicia Keys sings a stirring hook that will make non New-yorkers jealous, and residents of the city feel at home.

Unfortunately for some of the more established Jay-z fans, the “future-core” sound apparently involves a lot of synthesizers and R&B, which make Blueprint 3 sound a bit-watered down at times. It should be said though that the production on Jay’s albums, while usually supplied by whoever the most popular and respected beatmakers of that year are, has always taken a backseat to the man himself. Even when the instrumentals on this album isn’t always up to par, Blueprint 3 is one of Jay’s strongest turns lyrically. While Jay’s wordplay has always been about the same things (money, cars, women and money), the endless ways in which he finds to discuss those topics, often while employing double and triple entendres in the process, continue to be fascinating. The sort of “Don Draper of hip-hop” persona that he has established with his addictive charm (or plain arrogance) and lack of self-doubt continues here, and you get the sense that Shawn Carter can do in his sleep what other rappers can’t manage to do even after their morning coffee.

Jay’s boasting has never been less unwelcome than on the otherwise increasingly cloying Timbaland-produced track “Reminder”: “10 number 1 albums in a row/who better than me?/only the Beatles/nobody ahead of me/I crush Elvis in his blue suede shoes/Made the rolling stones seem sweet as Kool-aid, too.”Jay-z is probably the most acrobatic lyrically on “Venus vs. Mars”, boy-meets-girl story gone bad told entirely in metaphor: “Thought Shawty was the truth, found out she was a cheater/we were supposed to Takeover, I caught her bumping Ether/I thought shawty like Mike, found out she like Prince/thought she was Adrian, it’s been Rocky ever since.” The alluring, almost psychodelic Timbland instrumental ensures that this will be a strip-club favorite for many years to come. “On to the next” is one of the true gems on the album; Swizz Beats supplies the hook and a backing beat reminicenst of Snoop Dogg’s “Drop it like it’s Hot.” “Next” is appropriately followed by the hyperactive “Off That” featuring new-comer Drake. Another freshman rapper Kid Cudi has a guest turn on “Already Home” which features a lovely blend of horns, violins and hand-claps that are sure to enrapture any fan of good music after a few listens.

Blueprint 3 asks the question, much more effectively than Kingdom Come did, ‘Where to go from the top?’ Jay’s answer is to branch out and go beyond the archaic gun-talk and soul-samples that were prevelant on the first Blueprint album, and swerve into yet another lane going at least ’bout 80 and waiting for his contemporaries to catch up with him. Whether or not he will be succesful in blazing a trail for those that to follow is yet to be answered, yet those in doubt about his status as the king of rap are promptly quieted.

Grade: B