Page 4 ad in “The Source” Magazine February 1992. The front cover was held down by The Geto Boys. At the time, “The Source Chart” had LP’s such as The Low End Theory, Mr.Scarface Is Back, Death Certificate, Fruits Of Nature plus many more in heavy rotation. Damn!!! Think we need to post a pic of that chart!!!
Welcome to Run Royal. This site is here to share knowledge, opinions, personal experiences and to connect with like minded heads on Hip-Hop music and it’s culture. Straight shooting the substance without bullshit in between. Think of this site as something like a fan boy talk show, with regular segments, known only here as (Know the Ledge). Our store will provide an outlet to release any product that we are directly involved or co sign with. This will come in due time.
Take a look around and get to know what will quickly become a place of priority when you want an informative and personal look into Hip-Hop and all that it encompasses.
If you have something you want to share with us, hit us off at firstname.lastname@example.org
The first of many interviews from a recent trip to Melbourne, Australia. We took some time out of our hangover to take a studio tour and have a conversation with Melbourne MC/Producer, Dazed. Cheers!
I was recently diggin’ through an old shoebox of all sorts and come across a few gems. One being this flyer for Lazy Grey and Ken Oath’s ‘Have A Beer‘ film clip screening at Rics Cafe a decade plus some years ago.
Before social media it was community radio, word of mouth and flyers like this one at your local record store that brought heads together from all sides of the city.
For locals ‘Have A Beer’ and the entire Lazy Grey ‘On Or Off Tap’ release became a drinking anthem for Rivercity crews in the park after dark getting street educated.
Most will agree that it was during this time (98-02) that today’s local Hip-Hop scenes foundations were established. But for most that attended, nights like this are now just a few sketchy memories refered to as ‘the good ol’ days’.
And on that note..
We have a double pass to the recently released ‘Straight Outta Compton’ in your state (Australia Only) plus a large Run Royal T-Shirt. Even if you’ve seen the movie, can’t squeeze a Large T, or are from OS, sign up anyway and keep in the loop as we’ll be offering some things to you exclusively.
To enter. You simply need to enter your email address in the ‘SUBSCRIBE TO RUNROYAL’ on the site, confirm your subscription via the automatic email that comes through and share this post on Facebook or one of our Instagram accounts. Piece of piss. Random winner picked by a generator next Friday 9/10.
Spread the word and good luck!
It’s no secret that Mr. X to the Z has done some ghostwriting, most notably for the good doctor himself, Dre. It really then comes as no surprise then that he would’ve ghostwritten for Snoop also, but Snoop has never been a slouch on the mic and has written most of his own tracks over the course of his 20+ year career.
X’s ghostwriting was provided for Snoop on what would be his second last single for Master P’s No Limit Records, the Dr. Dre produced Lay low from 2000. Of course Snoop and X collaborated two years prior on the incredible Bitch Please – also produced by Dre and featuring Nate Dogg.
Snoop’s two album stay on No Limit was met with indifference but did yield this great single and listening back to it now I reckon you can pick that Xzibit penmanship.
Producing with Buda the Future as the duo know as Buda Grandz, together they’ve produced for a lot of talent over the years with placements on some big industry records yet still working with closely and maintaining working relationships with a handful of underground artists. Thanks to Grandz Muzik for taking time out for 10 seconds of sample time. I fucked up and gave dude an older version with the tenth question omitted. Obviously he’s a busy man so I’ll run it like this and if he ever get back to me on who he’d pick between Buckwild and Dimond D, I’ll be sure to edit the post.
1. You get a creative urge at a time outside when you normally work. What’s do you do? Do both you and Buda build off solo ideas that may have been demo’s during these creative urges. How do you work?
Yes we do. Sometimes I’ll get an idea, and I’ll start it on the laptop, and when we meet we will finish the track. And sometimes he has some ideas on his laptop, and I’ll finish them off when we get together in the studio. We make sure we meet at least 3 times a week to get work done. It’s always different, other times we just create from scratch when we are in the lab.
2. Your tracks complete minus the drums. Your choices for layering are ‘The Honey Drippers – Impeach the President’ and ‘Skull Snaps – It’s a new day’. Which do you choose and why?
I’m a big fan of the impeach the president drum break, it’s probably one of the most used breaks of all time in hip hop. There’s a reason for that, I think it’s because it’s such a clean fat recording and the swing is crazy on it.
3. Name a producer or song that has changed your approach to sampling.
For me it’s probably DJ Premier, when I listen to the original sample he used on a lot of his tracks, I’m always amazed on how he flips it. He can take the smallest portion of the sample, and turn it into a masterpiece. Rza also has a great ear for samples.
4. Are there any underground MC’s that have caught your ear which you would like to or are currently working with?
As far as underground MC’s I gotta be honest, I’m usually out the loop. Buda has his ear to the street more than I do. I usually try and stay away from the radio, and Internet whenever possible. That’s why we work so well together, we compliment each other’s strengths.
5. Incredible production but the MC let it down. Name a track or album like this.
Not really into specifically calling anyone out. Can’t think of any project in particular. But there are plenty of albums/tracks I don’t like. Lol
6. What do you think gives a producer a signature sound, how much do you think equipment/software and sample selection has to do with it over their processes used?
I think when a producer uses similar elements/sounds in a lot of his/her beats it gives them a signature sound. It can even be the way his tracks are mixed that can give him that sound. I am a firm believer that equipment and software have very little to do with your sound. I can make a track in Ableton, fruity loops, logic, or pro tools. And it still will sound the way I want. It comes from the mind and not the software.
7. Can you tell us a little bit more about the Vidstrumental project your working on?
We are working on a vidstrumental project right now. It’s gonna be a collection of beats we have made that have a certain feeling to them. They are beats that we can visualize a story from. We are just looking for the right director to put all our ideas together.
8. How do you feel about this statement. “I found the sample on you tube” Do you think sampling from an online sources takes away something from the art of beatmaking?
Not necessarily, again it’s all up to the individual and how creative they get with it. There are producers that dig all day everyday, and make wack beats. But on the flip side there are others that sample themselves or take a super popular sample and make a masterpiece.
9. If you had 5k cash at your disposal when you first started out what would have you bought sooner for your studio
Definitely a faster better iMac, lol. Having a dated or slow computer can really hinder your creative process.
I recently caught this doc on Netflix during the week, and I must say, I can’t get it out of my head. It’s a monster. This has to be one of the most interesting films I have seen in a while and certainly one of the most unique approaches in capturing the evolution of the Hip Hop Culture.
It follows the beginnings of the infamous South Bronx gang “The Ghetto Brothers” and then proceeds to tell the story of rival gangs from the corners and boroughs of New York in the 1970’s. I’m not going to give too much away here so I’ll keep it brief…
The stock footage, interviews, narrative and love shown to this project are evident throughout. An amazing and educational watch so rare in our culture nowadays. Here lies the true story of “The Warriors”. Also, the “Ghetto Brothers” released an album in 1972. If you have a lazy $2000 laying around, jump on Discogs, there’s an OG there. Highly recommended.
Artist: Harmon Bethea
Label: Musicor Records
Don’t for a second get it twisted, this album is a masterpiece of intricate sampling and layers the likes of which you’ll never see again in this day and age what with sample clearances and all. Pete Rock’s luscious use of multiple records per song is a masterclass for any person with a keen ear for beats and breaks, I just don’t quite get what C.L. Is rapping about on most of these songs, take album opener Return To Mecca for example;
Start Em in Harlem with the motto, the Apollo boogie to me, I’ll swallow hollow when ya follow. Stable like a turntable, lyrics I cradle, no fable, label or one, my tongue around your navel…
..Now I sink you to the link that’ll make you think, yous too large to shrink, I need a drink..
And he continues to continue on in much the same fashion over the rest of the album. Im not being picky here either, when C.L. puts it all together it sounds amazing over the top of what the Chocolate Boy Wonder has provided him but I’m just not getting it.
Even the magnificent They Reminisce Over You (T.R.O.Y.) doesn’t really seem to be about what we’ve all thought it was about for all these years, the loss of Pete’s cousin and Heavy D backup dancer Trouble T-Roy. I’m of the opinion that when those horns come in you forget everything else and just fall into the feeling of the record.
I’m not dissing this album at all, I’m just trying to understand it, it’s incredible to the ear but when you start peeling away the lyrical layers it leaves me wondering and Grand Puba’s ghostwriting for Pete is obvious particularly on the freestyle that leads in to For Pete’s Sake. PR sounds almost like he’s doing a Grand Puba impersonation without the same vocal tone.
I’m probably looking to deep into it. All of the above aside, Mecca & The Soul Brother is an amazing listen and one well worth revisiting if you get a minute. Everything meshes together to create such a complete album that you get lost in its dense production… But, and it could be a big but for those that disagree, next time you’re listening to it listen to the lyrics and feel free to tell me I’m wrong.
Thought Id post up something a little different today. I’ve been following this guy on IG for a while and his weekly story’s are inspirational. He’s a recovering drug addict who’s got clean and helps out the homeless by cutting their hair on the side expecting nothing in return. Make’s you realize, no matter how rough things might be for you there’s always someone out there doing it a little rougher. Sometimes rich hearts are covered under poor coats.
Do something good for someone during your day and go follow @thestreetsbarber
Calski is back at it with some more of that rawness, this time teaming up with Dialectrix on a new joint titled ‘I Know’. The beat bangs hard like a flyscreen in a cyclone and both Cal and D-Trix come correct with tight flows and witty wordplay to match. ‘I Know’ is available for free download from his soundcloud but capped at 100 dl’s so don’t sleep.
I was recently given the opportunity to interview one of my favourite MC’s, Queensbridge veteran Cormega. In lead up to sending through the interview I built upon what I already knew of his career by reading and listening to a bunch of his interviews, I didn’t want to ask too many questions he’d been asked in the past, anything to do with Nas for example. Unfortunately a few questions weren’t answered. I was interested to know more about his history and early appearances with Poet and DJ Hotday (PHD), I was also interested to know more about his QB Crew The Goodfellaz which consisted – to my knowledge – of names like Lakey the Kid and Worm.. While also building upon where he’s at as an artist today. What came back is what was answered, maybe I caught him on a busy day but I’m grateful for the opportunity regardless.
Thanks heaps to Trav from OzhiphopShop for putting the connect together, be sure to support his movement as he’s helped support ours. The intro to the interview was written by a dude named Rips.
For what had started as a kid in the hallways of a Nas storyline, Cormega has grown a notoriety as one of the most-revered emcees out of 41st Side and Vernon of Queensbridge, New York. Despite his independent career having been met with great adversary, twenty years after Cormega’s release he has stayed true-to-form and triumphed along the way with some well-regarded records, The Realness and True Meaning. For a rapper Marley Marl had once referred to as the ‘original gangsta rapper of Queensbridge’, Cormega regards himself a veteran of hip-hop. After long-service leave, his 2015 album, Megaphilosphy marks a return to fold for the rapper and, for the first time, is bringing his steez to every capital city down-under which opens up in Melbourne, September 25.
Before the arrival of one of QB’s finest, a purist of the art of rap who has always upheld the traditions of a microphone fiend, we decided to let one of our own emcees, Jake-Biz from Bris-Bang’s Karsniogenics label and one of the formidable few of the 750 Rebels to ask Mega anything and everything about the what-could-have-beens and look-backs at the commercially-underrated career of an incredibly-talented MC. Never shy to tackle the business-side of his business, Mega chopping-up with Jake Biz resulted in a frank and concise exchange of realness between two true heads of hip-hop.
JAKE BIZ – Your first album The Testament was shelved by Def Jam in the 90’s and didn’t see a release until the early 2000’s. How was your experience as a signed artist on hip hop’s preeminent label?
CORMEGA – Being on DEF JAM was a learning experience and introduced me to the industry.
You predate 50 Cent as one of the early artists to use mixtapes as a promotional tool but you rarely receive the credit. Was that the early inspiration for Legal Hustle and your independent grind?
I was definitely the first to utilize mixtapes as marketing schemes and also as a determiner of where I stood with the public.
The Realness and True Meaning could almost be viewed as companion pieces and are both clear, fan-favourites. Do you ever feel the pressure from fans and the public to recreate that early success?
Realness and True Meaning are definitely albums I aspire to equal or exceed every time I make an album.
You’ve shown immeasurable growth over the course of your career and you’ve never hesitated to cite peers such as Chuck D, Slick Rick and the Juice Crew for that, how have you managed to stay a fan of the game and not seem as jaded as other MCs from your era?
I love what I do and understand it is a blessing to be in my position as an artist plus I respect the foundation.
The chemistry you share with Large Professor is unquestionable and your latest album Megaphilosophy is a testament to that and you’ve also worked together in the past. How did the process of making a whole project together differ from getting single tracks from individual producers?
Working with LP is a challenge but when challenges are met you find out who you really are.
‘Industry’ (and its subsequent remixes) is one of the most profound statements in hip-hop from the last five years! In a time where digital reigns supreme and CDs are essentially obsolete do you think the recording industry could ever regroup and see the immense profit it saw throughout the 90s?
The industry will always find a new way to return like a villain in a superhero movie.
You’re a known sneaker head, do you still get out and cop on release day or has hype-beasting seen your interest diminish?
I love sneakers but I’m not a hype-beast and luckily I have some cool friends at Puma and New Balance. I really don’t wear Nike anymore until I see them show more respect to the black consumer who, by-the-way, kept them from going out of business.
Can’t wait to see you here in Australia. Thanks for your time!
– Jake Biz(750 Rebels/Karsniogenics)
You can catch Cormega on his massive upcoming Australian tour that kicks off September 25th in Melbourne
The 2nd Annual Crush City exhibition opening night is taking place this Saturday, September 26 at Jugglers Art Space. Fortitude Valley, Brisbane.
Artists with work on display include John Lupo Avanti, Eric Bruckner, Sam Hillcoat, Tristan Trenaman, Reals, Jay Christensen, Meks, Blex, Cekios, Diz & Malis.
I was listening to Mobb Deep’s The Infamous recently and thinking about the impact A Tribe Called Quest’s Q-Tip had on it’s overall sound. While Havoc’s understated and minimalistic production was beginning to find it’s stride in 1995, i think it’s Tip’s contributions from production to mixing that are often overlooked.
This lecture with The RBMA in New York discusses all that and more. He speaks at length on Mobb, Nas, Tribe and his own solo work which I’ve recently started gaining a strong appreciation for – yeah, I’m a little late I know. His musicality is without question and listening to him break down his process in the studio is inspiring.
From playing the assembled crowd the original DJ Premier produced demo of Nas’ Memory Lane to working with Norah Jones and discussing everything from pause tapes to his own DJ career and NY club culture, this is well worth your time.
Tip’s fingerprint is no more evident on The Infamous than the incredible Drink Away The Pain, providing both production (a three bar loop?!) and a memorable guest spot.. This is still probably my favourite moment from the second Mobb album!