Born Warren Griffin III, Warren G exploded out of the burgeoning Long Beach rap scene in 1994 with the smash single "Regulate," a duet with longtime friend Nate Dogg, and its accompanying album, Regulate...G Funk Era. G grew up in Long Beach listening to his parents' extensive collection of jazz, soul and funk records, also frequently hanging out at the local V.I.P. record store. As a teenager, he and his friends Nate Dogg and future superstar Snoop Dogg formed a rap group called 213, after their area code. Unfortunately, all three had brushes with the law and spent time in jail, which motivated them to get jobs, also working on their music on the side. Eventually, the V.I.P. record store allowed the trio to practice and record in a back room. It was here that Snoop cut the demo "Super Duper Snooper," which G played for his half-brother Dr. Dre at a party. Dre invited all three to his studio and wound up collaborating with Snoop on The Chronic. While G also made several contributions, he opted to develop his talents mostly outside of Dre's shadow. He honed his musical skills while producing such artists as MC Breed and 2Pac. A break came when his vocal collaboration with Mista Grimm, "Indo Smoke," appeared on the Poetic Justice soundtrack. Soon after that, G recorded his debut album for Death Row. "Regulate" appeared on the Above the Rim soundtrack and was released as a single. It quickly became a massive hit, peaking at #2 on the Billboard charts and pushing the album up to the same position. The album eventually went triple platinum, with "This D.J." becoming his second Top 10 hit.

Warren G took nearly three years to complete his second album, returning in the spring of 1997 with Take A Look Over Your Shoulder, which was greeted with decidedly mixed reviews and weak sales. I Want It All followed in 1999.

 

 

The revolutionary course of hard-core rap took a sharp turn to the real in 1993. That year, the platinum debut album ENTER THE WU-TANG (36 CHAMBERS), struck a strategic, genre expanding blow for the hip-hop nation. Eternally elevating the urban art-form, it justly propelled the WU-TANG CLAN to the apex of rap music. Now bonafide superstars, Staten Island's Wu-warriors: Prince (The RZA) Rakeem, Raekwon, Ol' Dirty Bastard, Method Man, GhostFace Killah, Genius (GZA), U-God, Master Killa and Inspectah Deck, fearlessly return to rap's forefront with WU-TANG FOREVER, their aptly titled and much anticipated second Loud Records (enhanced double) CD.

Produced by the RZA, the impressive album features the lethal lead single "Second Coming - Triumph," a sonic reflection of Wu's cumulative vision, talent, skill and focus. Avowed students of the mental (or Shaolin) aspect of the martial arts and Islam, and rabid fans of kung-fu films, Wu once again attaches an Afro-Asiatic discipline to the art of rhyming. Drop kicking powerful, "Protect Ya Neck" (their first hit) type furor into the new mix, they push the lyrical envelope, plundering metaphorical gold mines in the process. "This is the bomb Wu-Tang record we wanted to make for years," advises Raekwon. "It not only gives the peeps more of what they already liked about us, it also takes us as a group, to the next level."

Emphasizing the point, in addition to "Triumph," other on target, off-the-hook cuts adding to Wu-Tang's treacherous track record include: "Hellz Wind Staff," "Reunited," "Older Gods" and "MGM." Like a giant sponge, each track absorbs your brain cells into the group's complex, multi-layered world of edgy Wu-Tang ghetto-speak. Once inside, shocking scenarios, inspired revelations, tragic truths and even wall-to-wall Wu-Tang insanity take over. It's all delivered in Wu's infamous, totally unpredictable, wild verbal combat style. "We're comin' off with the crazy nigga shit that can't nobody touch," says Ol' Dirty Bastard, whose confusing, effectively surreal 1996 "Fantasy" duet with mega-pop star Mariah Carey, is an example of how far Wu-Tang's tentacles reach into music's mainstream. Yet, they still maintain respect and support from real hard-core hip-hop heads, and do so without selling-out. If anything, the mainstream brought in.

In all of hip-hop's history there's never been a rap aggregation like the Wu-Tang Clan. However, it didn't happen overnight. On the real, each member had his own sad street struggle story before the group blew up. Life on the cold concrete of "Gaten Island" was, and still is, haunted by crime, drugs, violence, hustling and poor people striving to survive. Living under such life devaluing conditions had most of the bad-ass brothers we now know as the Wu-Tang Clan, caught up in the thick of it. How else could the stark street images they rap about come off so genuine, so vivid, so cold, so Wu-Tang?

Nonetheless, in total support of each other since day one, after the group came together and the Wu-Tang juggernaut was finally fired up in '93, there was no stopping them. They pooled their talent, resources and ideas, doggedly determined to win. The rest, as they say, is history. "Most of us had dealt with the bullshit of trying to do the solo thing without a strong crew behind us," RZA reasons. "But we realized that in numbers there is strength, and numbers are very important to us. For instance the 36 vital points (or 36 chambers) in the body, that when multiplied by 10 degrees, equal 360 degrees of complete perfection, which we always strive for."

"And since we share similar philosophies like that," U-God interjects, "uniting under the Wu-Tang flag was a natural thing for us to do." After all, GhostFace Killer comes forth, " we all study Islam, play chess (which sharpens their warfare skills and killer instincts), live for kung-fu flicks, read the 'Suntzu: Arts of War' every day, and are true 'Shaolin Soldiers'." "See," Method Man concludes, "we came to the game with some ill new shit nobody was ready for, but everybody had to recognize."

Expanding Wu-Tang's recognition became a paramount issue that ultimately led the group to recording, marketing, promoting and distributing their first single, "Protect Ya Neck," under their own Wu-Tang label. It became a seismic underground hit, initially erupting on the club, college and raw rap circuits.

This early success opened the door for Wu-Tang's Loud Records contract and subsequent release of Enter The Wu-Tang (36 Chambers). Momentum continued with "Neck's" b-side hit, "Method Man," which stayed on Billboard's Rap Single Chart for over 25 weeks straight. That and their first album's streak to platinum status, put Wu-Tang on the fast track to global recognition. "C.R.E.A.M. (Cash Rules Everything Around Me)," was Wu's follow-up Top-chart move. Next they guest rhymed on SWV's "Anything," giving them more R&B/hip-hop exposure. As a matter of fact, things were looking so good, at the First Annual Source Awards the Wu-Tang received Lyricist Of The Year (group or solo), and Single Of The Year ("Method Man") honors.

On the Wu-Tang family's solo album front, to date, there have been no less than five platinum or gold CDs, adding to the Clan's legendary status. The list includes: Method Man, METHOD (TICAL) MAN - Def Jam (platinum); Ol'Dirty Bastard, RETURN TO THE 36 CHAMBERS-Elektra Entertainment (gold); Chef Raekwon guest starring Tony Starks (GhostFace Killer), ONLY BUILT FOR CUBAN LINX-Loud Records (gold); The Genius (The GZA), LIQUID SWORDS-Geffen Records (gold), GhostFace Killer featuring Raekwon and Cappadonna IRONMAN-Razor Sharp/Epic (gold).

Known to capitalize on many levels, economics as well as art is the priority for Wu-Tang's diversely business-minded membership. In addition to their Staten Island based recording studio, production company and record label, their entrepreneurial savvy extends to several other areas, which all come under the umbrella of the famous (bird-like) double sword Wu-Tang trademark symbol. It's always prominently displayed on their records, promotion and marketing material and flourishing Wu-Wear street gear line. And having gone high tech, Wu's popular world-wide web-site (http://w ww.vibe.com), has become hip-hop's most accessed Internet address to date.

With sold-out national and international concerts, multiple gold and platinum records, enormous industry respect, and a brilliant new platinum-bound enhanced (inter-active) double CD and single ("Second Coming---Triumph") taking no prisoners. Wu-Tang is securely in full effect mode, showing no signs of slowing down. In fact, since they began verbally decapitating the competition with their razor sharp, hard-core honed "liquid swords' a half-decade ago, on the longevity horizon, it was Wu-Tang then, it's Wu-Tang now, and it will definitely be WU-TANG FOREVER.

 

 

The Wu-Tang trademark has become synonymous with gritty, street corner hip-hop. With album sales totaling more than six million, the Staten Island, New York collective has made quite a name for itself in the last decade and shows no sign of slowing down. Wu-Tang mastermind RZA says, "The Killa Beez is everybody in the Wu-Tang family."

The Sting, the Killa Beez sophomore effort is due out March 12, 2002 on KOCH/In The Paint and Wu Tang Records.

The Sting is the follow-up to the Killa Beez's 1998 debut record entitled The Swarm, a certified Gold release. It reunites the many branches of the Wu-Tang family tree. RZA continues, "the record features ODB, U-God, Inspectah Deck, Sunz of Man, Royal Fam, Black Knights, North Star, American Cream Team as well as solo artists like Solomon Childs, Lord Superb, and War Cloud. Basically, everyone in our family is considered a Killa Bee." RZA adds, "A Killa Beez album is the type of album where you can gather flavors from everybody. On this album, I tried to reach out to all the Killa Beez to come out and bless this project."

With all the pieces in place, the concept for The Sting was a decidedly simple one: "The Killa Beez concept is originality, which is the Wu-Tang concept," says newcomer Solomon Childs. "RZA is like the black cat in Voltron-he brings everything together. He makes it all possible. Everybody has their ideas, but first you have to tighten a few screws and fix a few doors and that's the part that RZA plays."

"On the Killa Beez albums, I'm in total control," adds RZA. "It's all about me coming with the track that I like or having one of the producers in my camp create a track that I like and having artists come spit on it- it's more of a freestyle session. We're not making this for radio. This is hip-hop- straight up rhyming, and straight up vibing. We're not driven to do anything other than what we normally do. This is what we do, we're hip-hop heads. This is an album that expresses that." U-God agrees, "It's a nice compilation album. It's just nice, underground hip-hop music-it ain't that pop shit!"

The first single from the new Wu-Tang Killa Beez record is entitled "Killa Beez," featuring The RZA,
Inspectah Deck, U-God, and up and coming R&B singer Sugar Bang Bang. The B-side is called "Doe Rae Wu," featuring ODB and Kinetic. Check out the joint "G.A.T." It features The Black Knights, North Star, Solomon Child, 12' Clock, Shyheim and RZA.

The Sting continues in classic Wu-Tang tradition in that family always comes first. "We're blood brothers" says RZA of the bond that binds the crew. RZA continues, "We're all trying to get on the same plane mentally because Wu-Tang is not only about the music, it's a way of life. We strive to make sure that everybody with us is in the same frame of mind."

"We've got to be tight," Childs adds. "We could have the biggest fight with each other, but that doesn't mean we're not going to be brothers in the morning. We're going to keep that bond tight because if you notice the industry consists of families right now, and we started that. We're just trying to make sure that no matter what you hear from the Wu-Tang, you're going to hear family."

There are so many crews and cliques within the hip-hop world. What sets Wu-Tang Killa Beez and
The Sting apart? Solo artist Solomon Childs sums it up, "When is RZA going to go get some other niggas? The Wu got talent, but I want to hear some other niggas. Now, your prayers have been answered. Now, we're going to give it to you just the way you want it."

 

 

In the pop 'n' fresh world of music, it's not that difficult to make a splash and become a phenomenon. What's really hard is becoming an artist and sustaining and developing a legitimate and substantial career.

Those wanting an answer to that question might look to Wyclef Jean, because in this superstar you have the blueprint for both commercial success and creative potency. From his groundbreaking work with the Fugees to his genre-defying solo debut Wyclef Jean Presents The Carnival to his acclaimed and Grammy-winning production and songwriting credits for, among others, Destiny's Child, Whitney Houston (the top ten smash "My Love Is Your Love") and Carlos Santana (the number one hit "Maria, Maria"), Wyclef Jean broadened and expanded the reach of hip-hop culture. With his latest album, The Ecleftic--Two Sides Two A Book, he brings it to a whole new level.

Like the multi-faceted multi-hyphenated performer who created it, The Ecleftic--Two Sides Two A Book embraces many forms of music and all expressions of culture: Wyclef takes it all--from classic rock to ska to down-and-dirty bass to country to thugged-out rap to folk and reggae--and finds a home for it in hip-hop. Recorded mainly in New York and at Clef's New Jersey studio, produced by Clef and Jerry Wonder, with additional production from Sedeck Jean and Salaam Remi, The Ecleftic--Two Sides Two A Book is fearless, funky and fluid. "I'm a scientist," Wyclef offers. "The fusion of music has once again combined into one thing and that's what I'm all about. I go back and listen to all those Stevie Wonder records Or (Miles Davis's) Bitches Brew or Marvin Gaye and Donny Hathaway. The music back then wasn't called hip-hop. But what those artists did was stay credible to their original form and that's what I do. No matter what I'm doing, I am a hip-hop artist. Those are and still stay my roots and my inspiration."

Those hip-hop roots make themselves felt on the fierce--and sure to be controversial--opening cut "Where Fugee At." Asked about the track, which pointedly addresses the question of when the Fugees might be reuniting, Wyclef responds, "All of the stories are in my songs. Most of the lyrics are just me freestylin', most of it, even with the serious stuff, I'm just buggin'."

Another track sure to make conversation is "Dirty South," the first single to hit the streets. Set to a raw rump-shaking groove, "Dirty South" addresses the growing vibe of materialism that flavors certain strains of hip-hop. Rugged and righteous, the track has a message that is close to Clef's heart. "I wanna show that with this whole thug phenomenon, there's something deeper than that. I wanna talk to the hoodlums... because those same kids come to my shows and hear what I have to say, as well."

Equally cautionary, but in Clef's unique comic style, is "It Doesn't Matter." Featuring wrestling superstar The Rock and set to a bouncy ska beat, "It Doesn't Matter" lets people know that bling- bling isn't all its cracked up to be. "I think that people wanna hear 'I got 50 Bentleys in the West Indies, it doesn't matter,'" Clef quotes from the track. The average person who works hard wanna hear that. I wanna be the person who can talk to the people who can't afford all that stuff. That's where I come from."

Further evidence of where Wyclef comes from is the haunting "Diallo," which features Senegalese singer Youssou N'Dour and addresses the killing of Amadou Diallo at the hands of the New York City Police. "I'm just one of those people who care," Wyclef says, "and I will always care because there's too much going on not to. When I was coming up hip-hop talked about things like Amadou Diallo."

On a lighter note, but no less in keeping with hip-hop's spirit, is a remake of Pink Floyd's "Wish You Were Here," which Wyclef recorded to remind naysayers that even a kid from the projects can feel rock 'n' roll. "Plus," Wyclef adds, "if you're a guitar player like me, you gotta be into Pink Floyd, so I just put my own spin on it."

Wyclef has been putting his own spin on things since he first began making music. The son of a preacher, Wyclef was born in Haiti and, over the years, has emerged as a leading champion of that country, serving as a spokesman for many issues and heading up the Wyclef Jean Foundation to help children both in Haiti and the United States. Wyclef moved to Brooklyn's Marlborough Houses when he was nine years old. "I'm all about the projects. I was raised with this training from the church and the streets and the parks and it's what developed me as a person and as an artist."

Wyclef received his first guitar from his mother. By high school, he had moved to New Jersey and he majored in jazz in high school. By the early 1990's he had formed a hip-hop group, the Fugees, with Lauryn Hill and Prakazrel "Pras" Michel. The trio toured non-stop and their 1993 debut, Blunted On Reality, earned them good press but not much commercial attention. Undeterred, Wyclef and his cousin and musical partner Jerry "Wonder" Duplesis seized production control of the Fugees next effort, which, in 1996, would emerge as The Score, one of the largest-selling and most influential hip-hop records in chart history.

The Score's staggering sales (more than 11 million units worldwide) and critical acclaim helped secure Wyclef's status as one of hip-hop and R&B's hottest producers. He went on to produce a diverse roster of acts including Cypress Hill, Sublime, Bounty Killer and Simply Red.

In 1997 Clef released his solo CD Wyclef Jean Presents The Carnival, which spawned the hits "Staying Alive" and the moving "Gone Till November," which earned Clef a Grammy nomination for Best R&B Vocal Performance, Male. Praised for its freewheeling, multi-cultural sound, The Carnival has been certified double platinum by the RIAA. Following the album's release, Wyclef toured, produced a slew of hip-hop and R&B recordings (including fellow Fugee Pras's hit "Ghetto Superstar"), participated in a televised tribute to Johnny Cash, and hosted two all-day fundraisers benefiting the Wyclef Jean Foundation.

A musician with an activist's heart, a guitar-slinging microphone bandit, a seasoned veteran with an ear to the streets, Wyclef Jean has come along way and brought hip-hop along on his journey. That growth and his continuing maturation as an artist is evident on The Ecleftic--Two Sides Two A Book. Asked to sum up his purpose, Wyclef answers. "60 years from now, you gotta be able to look back at this record and ask yourself, 'who was this Wyclef Jean guy?' And, 'can I still put one of his CDs in the deck?' With The Ecleftic--Two Sides Two A Book, I know that you will be able to do that."

 

 

In 96, the man that can stand at the mic alone and shine is rare. Look beyond the fake flash and glitz of show business hip hop today and try to find skills. The glamorous glare of pretty boy poser rappers is blinding. You literally need to slice through the bullshit.
That's where Xzibit slides in with his bangin' debut, "At The Speed Of Life," on LOUD/RCA Records. On the mic, the X to the Z's tongue cuts like an xacto blade. The deadly precision of his delivery and the natural intensity of his gravelly voice slash the airwaves with his trademark vocal bravado. And what better time then now, when hip hop is plagued with gimmicky biters who claim to be MC's and whose biggest asset is the fine biddies in their videos.

"I couldn't pick a better time because what I'm bringin' to the table is fresh and new," explains Xzibit, "A lot of people have told me that when they hear my album, It's refreshing to hear some shit from the West that doesn't have no motherfuckin' Roger Troutman samples, G-Funk, and 'gangsta this.'" "I'm tryin to set a trend, and that's what you're supposed to do with your first album."

"Paparazzi," the powerful lead single, is dead-on in it's assessment of how so much hip hop has gone 'Hollywood.' Against Thaygod's hunting score, Xzibit's hook says it all: "It's a shame, niggas in the rap game only for the money and the fame." The allure of celebrity that sucks so many people in is something that this artist is well aware of. "I did this album for a lot of reasons other than the flim-flam and the whoopty-whoop, the pictures, the travel and all that shit," says Xzibit. "This album is heartfelt."

That statement rings true when you listen to "The Foundation," a striking open letter written to Xzibit to his son, where he advises the child about the ups and downs of growing up ("You can only run the streets for so long" says Xzibit, in one line). Dj Muggs from Cypress Hill produced the emotionally charged track which features a mesmerizing loop of ghostly wails and the actual cries of Xzibits baby. And revelations abound in the hard-nosed two verses of "Carry The Weight," which details Xzibit's life story, from his troubled past to makin' it on his own.

 

"At The Speed Of Life" revolves around more than the played out themes of "gettin paid." From the get-go, Xzibit, who ever since age 15 has been ready for anything, maneuvers through this era where the blind follow the blind, and promises to lead, not to follow. The booming bass of the E-Swift mastered "Just Maintain" resonates with the infectious presence of fellow Liks' J-Ro and that wild boriqua Hurricane Gee. "Birds Eye View," produced by none other than D.I.T.C.'s Diamond D, is complemented by the proven drunken flow of Catashtraphe (Rico). And true underground heads' necks will break following the schizophrenic patterns of the trio known as The Usual Suspects (that's Saafir, Ras Kass, and Xzibit, who have joined forces as a potent new group).

Says Xzibit, "I named the album "At The Speed Of Life" because there's a whole lot of shit that niggas go through. I know more niggas that is off-the-wall and crazy, runnin' guns and shit than I know regular Joes that all they want to do is feed their kids. That's their speed. But it's weird how everything is coinciding together, and at the same time is moving in all kinds of different directions."

Xzibit was born in Detroit, where he lived until his mom passed away. He was 9 years old. When his dad remarried, the rapper ended up in New Mexico. He'd eventually make his way through the southwest, staying in Arizona for a minute. During this time, however, Xzibit started getting into trouble. At 14, he was taken out of his home for two years. "I was just wilding," he says about those early hectic days. Xzibit was released from the state on his own recognizance as an adult at 17. He did a little slangin' to get some dough together and jumped into his jeep and headed toward Cali.

Xzibit, who started to write rhymes at age 10 because he didn't have a radio as a kid, eventually hooked up with producer Broadway around '92 in L.A., who he met through the group, Madcap. Xzibit was supposed to first come out with Ahlee Rocksta (who appeared on Madkap's "Check It Out") as The Shady Bunch, With Broadway producing, but that shit got fucked up. Xzibit decided to go solo, with his man Pen One, who produced the menacing "Enemies & Friends" on this LP as his DJ.

Broadway looked out again, introducing him to Tha Alkaholiks, who in turn got him together with King Tee. Xzibit turned it out on the posse cut, "Freestyle Ghetto" on "King Tee IV Life," and after that got busy on the Liks' "Coast ][ Coast" on the joints, "Hit and Run" (the sequel, featuring an appearance by adult movie star Ron Hightower, is on Xzibit's album) and on "Flashback," where he showcased his humorous side as one of The Baby Babbas. LOUD head honcho Steve Rifkin offered him a deal soon afterword.

Xzibit points to his mother, who was a writer, as his source of creativity. "I express a lot of anger through writing, because I've already been through where I put my hands on niggas and taking it there in a negative fashion," he explains. "Instead of doing that, I just take out my hostility in my thoughts and put it down in a rhyme. And going into a studio and releasing that shit makes it all worthwhile. Instead of having a long-ass police record, I got a record on LOUD," Xzibit laughs.

After being raised by a dysfunctional family of Alkaholiks, Xzibit is working hard to achieve a stable role within the hip hop world. The man's E-Swift produced debut album, At The Speed Of Life, stresses mic skills instead of image. Xzibit's rhymes resonate because he speaks from the heart as an individual, rather than trying to portray a phony hip hop persona. Before releasing his album, the man appeared on the records of fellow Likwit crew members King Tee (King Tee IV Life), and tha Alkaholiks (Coast to Coast). Turning heads with these performances, Xzibit was soon offered a deal with Loud and cut his first record.

His experiences with tha Alkaholiks, both in the studio and on the road, were fundamental in his development as an artist. Xzibit absorbed the experience of the crew, and learned what was really going on in the business. "Shit isn't all peaches and cream." He comments, "You really have to work on an album. On stage, you've gotta bring a real show. You can't just get up there and rap, you need a real stage presence."

On record, Xzibit's presence is very much a personal one. He raps primarily about his own life experiences, and is not afraid to reveal himself on a track. "I don't like to talk in third person. If I can't explain it from my own self, then I've really got no business talking about it anyways." He pauses to consider his next point, "On another level, though, it can't be all that personal; because if you look at everyone else, we're all going through the same things. If not, no one would be able to relate to what I'm sayin'."

Xzibit's lyrics are firmly centred in reality; he does not try to play the role of an immortal rap star. Realising that his life is as vulnerable as the next man's, he cut a track on the album, "The Foundation", which is an letter about the tribulations of growing up, addressed to his one year old son. "In these days and times, it's easy to get caught up. There might be an instance where I get taken out kind of early. I just wanted to say something to my son in case there is a time where I'm not around to tell him personally."

Finding that their styles and personalities clicked, Xzibit hooked up with Ras Kass and Saafir to form a trio known as The Usual Suspects. They initially collaborated in the studio to produce one song, but quickly realised there was more potential to their united forces. In the immediate future the three are heading to the studio to record a full album, the product of which true heads will be impatiently awaiting.

As for his solo career, Xzibit intends to keep putting out quality records at a regular pace. Continuing to rhyme on a personal level, he pledges to never get caught up in the "Paparazzi". Not one to let his head swell over his success, Xzibit recognises the impact that his mentors, tha Alkaholiks, had in terms of his advancement. As a result, he is eager to aid the development of other artists who share his down to earth approach to the music. States Xzibit, "If I see anyone with talent willing to work hard, like I worked hard, they're more than welcome on the team. People like that always got a home with me."