His love for rap-rock fusion has been inspiring him since High School. He was the lead vocalist/rapper in a band called ‘Flint Eastwood’ —the bands ultimate breakup lead to bLAck pARty coming into existence, stylizing it with capital letters to single out “LA” for Los Angeles, where he lives, and “AR” for Arkansas where he was raised. In 2013 he began producing for Kari Faux. The two had met when both were in their mid-teens. Their collaboration, “No Small Talk,” caught the attention of Childish Gambino, who remixed it and featured it on his STN MTN/Kauai mixtape. Which only lead to bLAck pARty inking a deal with the Childish Gambino’s Royalty collective. bLack pARty contributed production to Gambino’s GRAMMY® Award-winning album Awaken, My Love! as well as scores a placement with TV series Dear White People, Insecure, and Atlanta.

His 2019 album Endless Summer is his first release through Wolf + Rothstein and RCA Records. The first single, “No Complaints,” features DMP Jefe, watch it below.

Out of his busy schedule bLack pARty took the time out to catch up with RESPECT MAG about everything from music to his future plans.

RESPECT.: Growing up, what were some of your biggest musical influences?

bLAck pARty: Growing up my biggest influences were Stevie Wonder, India Irie, Nirvana, MF Doom, Kanye West, Bob Marley & The Wailers, Bad Brains, Zro I came across a lot of music being around the different people in my life. I also grew up in the internet age when music became much easier to access.

RESPECT.: So congratulations on signing with Childish Gambino’s label! How did that happen?

bLAck pARty: Thank you! I actually connected to Childish Gambino back in 2014 when I was mostly doing production for Kari Faux, we had made this song & video “No Small Talk” that went viral and through that I ended up connecting with one of Gambino’s business partner’s Fam, Kari allowed Gambino to remix the record and we built a working relationship since.

RESPECT.: How did your first conversation with Childish Gambino go?

bLAck pARty: I don’t remember exactly, but I remember it was the day his Sway interview dropped so it was mostly conversations about that and conversations about rap music in general. I’m a huge supporter of underground rap, so I remember showing him some of the underground rap groups coming out of Atlanta at that time.

RESPECT.: You also produced on his Award-winning album, “Awaken, My Love!” how did that happen? What was that process like?

bLAck pARty: That actually came about because I had moved to Los Angeles around the same time he was working on “Awaken, My Love!” We always talk about music so it started off from me just being in the studio giving feedback to doing background vocals and some drum programming. It was an interesting experience that I feel I learned a lot from. It was actually the first major album I worked on and being able to be around some of the most talented musicians in the business was a blessing.

RESPECT.: So you write, produce, and engineer and do vocals? Which one is your favourite and why?

bLAck pARty: I’d say my favourite is probably producing because it’s the more creative and fun job. It allows you to think outside of the box and make something that resonates without actually using language.What I’ve learned from playing in places outside of the US is even if the people don’t necessarily speak my language they can still get with the rhythm of the beats and even catch on to the lyrics if they’re simple enough.

RESPECT.: Do you play any instruments? Regardless, what is your favourite instrument and why?

bLAck pARty: Yes, I play whatever I can figure out. If i were to pick a favourite I would say guitar. I always find it easy to write songs with just a guitar. Also a large majority of my favourite artists play guitar: Lauryn Hill, D’angelo, Prince, Kurt Cobain, India Irie, Amy Winehouse- all guitarists!

RESPECT.: Tell us about your song “Dancing”. What are some of the themes found in that Track?

bLAck pARty: Dancing for me was a record that originally was up as a demo, over time it was revamped to be more groovy. I wanted to make something that felt like a day party going into the night time. When it came to video the director [Dylan McGale] and I wanted to play off of one of my favourite movies, KIDS, and one of my favourite music videos, “Frontin” by the Neptunes. I’ve been skating since I was young, and skateboarding and music go hand in hand, so I had to show love to the skaters.

RESPECT.: How do you feel after having your music placed on Insecure?

bLAck pARty: Shout out’s to Issa ! It feels incredible. I have a lot of people tell me they found out about my music through watching Insecure. I actually watch the show so it’s kinda wild to hear my music on there.

RESPECT.: Complex described your sound as a retro sound that could fit nicely into rotation if it came out in the ’70s yet still feels fresh for 2019. Do you agree?

bLAck pARty: Yes. I think the 70’s was one of the more interesting times in music. I’m definitely inspired by that era in music and I listen to more older records than I listen to newer music. The thing though is taking that inspiration and bringing into the present or the future.

RESPECT.: What was that moment in your life that you realised you wanted to be a serious musician? Like this was it for you.

bLAck pARty: When I was 13 I knew for certain I was going to make music. I remember watching videos online of Kanye, Alchemist, The Neptunes, Madlib, making beats and rapping and I decided that’s what I wanted to do: make music and have fun.

RESPECT.: Who are you looking forward to working with the most in the industry?

bLAck pARty: It would be dope to work with legends like Al Green, Patrice Rushen, Erykah Badu…

Photo Credit: Manny Singh

RESPECT.: If I was to see your playlist right now what would I find?

bLAck pARty: You would find Fela Kuti, Amy Winehouse, Al Green, Sza, Khruangbin…I just like to hear something with a lil soul or funk in it

RESPECT.: Tell us about your 5 goals in 2020

bLAck pARty: My only goals are to continue to get better as a person and as a creative.

Follow bLAck pARty on instagram to keep up with all his updates.

All Photos by Manny Singh.

The post RESPECT. Interview: Childish Gambino’s signee bLAck pARty talks Future & Past appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

By: LeVelle

R&B/Neo Soul singer LeVelle aka LB, has officially released his new single titled “Why“. Hailing from the historic city of Kansas City, this musician is ready to show the world how gifted and musically talented he is. On this new release LeVelle does an excellent job of taping in with his audience as he remains authentic and real in his lyrical digest. He quickly reminds listeners of “Why” the R&b genre is more relevant than ever, as soul music is food for the soul.

 On this release, you will hear the songster melodically singing his heart out pleading and asking
“Why” the woman who adores won’t leave her toxic relationship for him. In a serene and serenading voice the Kansas City native says things like “Why you keep putting up with these lames, why you keep letting him play these games, I see a predicament and I ask myself why?” These raw and honest bars, appear in the catchy chorus that sets the tone for the whole song. Every rift and word sung, is full of passion, intention and love. That is probably due to the fact that he is heavily influenced by Sam Cooke, Al Green, Gerald Levert, Avant, Musiq Soulchild, Anthony Hamilton and David Hollister. These R&B/Soul legends sound’s are weaved into LeVelle’s melodies, runs, and beat choices.

Pushing passed hardship, naysayers and the ways of the industry, LB has created a record that both men and women can grow to appreciate. The most impressive part of “Why” is the harmonious bliss that travels throughout your body from beginning to end. This by far his strongest material to date as he is only getting better and better over time. When you work hard you will reap the benefits of that hard work. That is the case for this rising superstar.

Having had the opportunity to grace the same stage as R&B crooner Charlie Wilson, Anthony Hamilton, Dave Hollister, Avant, El Debarge, TheBarkay’s, The Dazz Band, Al Green, The Temptations, Robin Thicke, After 7, TonyTerry, Trey Songz, En Vogue, SWV, Shanice, Tank, Silk, Dru Hill, K-Ci & Jojo, Frankie Beverly, Fantasia, Big Bub, Howard Hewett, Calvin Richardson, Eric Benet, Ginuwine, Marcus Houston, Cedric The Entertainer, he is more than ready to break into the mainstream music circuit.

LB has just completed his debut album called Le Velle My Journey. This album portrays his strong appreciation for women in general and the women who have greatly influenced his life. As he continues to be a prime contender in the R&B game, press play below to stream his “Why” single.

The post Soul Singer LeVelle Releases New “Why” Single appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Good to talk to you again, sir. I talked to you about a year ago before you came to Cleveland the last time.

Good to hear again from you too, brother. How you doing?

I’m pretty good. How about you?

I’m doing good, brother. I’m excited. man. The new project came out yesterday, called It’s Better This Way and the response has been amazing. I’m getting ready for the tour, so it’s a lot to be excited about.

The timing on that was crazy for me. I was revisiting Cadillactica and getting ready for this interview and then I go to Twitter and I see that this new project dropped and I’m like “Wow, really? And I’m talking to this brother tomorrow.”

[Laughs]

So I had to re-adjust some stuff here and there, but it’s all good. The first thing I wanted to mention was that when I went to see Straight Outta Compton I heard your song “Saturdays=Celebration” in the trailer of ‘Sicario’ and I thought that was a dope look.

No doubt

Now with Cadillactica, I personally like there was a tremendous amount of growth for you as an artist. For both being vulnerable enough to let other producers come in and also some of the content of the album. What would be some of the lessons you would say you’ve learned through the release of that album?

Definitely trying to get out of my comfort zone as an artist. I’m so used to producing for myself, pretty much and kind of really sticking to what I enjoy as far as drum packages and samples and the things that I use. So when I started working on Cadillactica, it was more about me trying to get out of that by working with other producers and using more obscure instruments and just challenging myself even where I was recording. I recorded went to Miami and recorded with Jim Jonsin, I went to LA and recorded a little bit. I was just trying to not be in my house and working so much. Even being able to get in the studio with the producers that I was working with — like being able to work with DJ Dahi and let him create from scratch or being able to get in with Terrace Martin or Raphael Saadiq — by doing that, it freed me up to write a little bit differently. I could dive deeper into Cadillactica. I wanted the album to sound sonically different than anything I had done before that and I tried not to sample so much too. It was only two samples throughout all of Cadillactica, which for me is a remarkable feat because normally I sample so heavy.

I was going to ask you if getting out of your comfort zones was one of your goals coming into that album. It seems like you were able to achieve that.

Definitely. Even with the It’s Better This Way project, it’s really all about becoming comfortable in my space. I’m not really chasing the sound that everybody is on or chasing what people are familiar with on radio, but just kind of finding my own pocket or my own niche and building on it as much as possible. Not doing it all by myself but rather while working with musicians who can bring certain parts to life and make sure that the music moves. When I say that, I mean that normally when you sample, you’re stuck to the grid of the sample because you might use a four to eight bar loop…but when you create original content, you have so much freedom when it comes to the instrumentation — to change things, to make breakdowns. Even the key I sing in and how I write music. It was just easier elaborating the things I come up with in my head or things I sing acapella in a voice note and then you get in with these amazing musicians and you bring these songs to life, they sound more cohesive. There was just a confidence. It may not be your favorite record on the radio or take off like that but over time, people will gravitate to my content and my sound because they know they can’t get it anywhere else.

Would you say that we’ll continue to hear the more polished sound from you as you keep moving forward or was it more of an experimental thing that you wanted to try out and get back to that comfort zone?

I’m going to stick with this. I’m definitely going to stick with where I’m going creatively. Even with the records where we get crunk and we turn up in the club that come from me, I feel that I’m able to put a message in there someway or somehow. For the most part, I really like where I’m going with the music. I like the amount of singing that’s happening and the positive platform and the things that I say in the content. I’ve done so much music throughout my career, it’s been over 270-something songs and records like “Soul Food” and “Hometown Hero” still stand out. I still perform these songs…along with a record like “Mt. Olympus.” I’m just excited to keep this feel and this vibe going musically. It’s just a brighter aspect, because I’m happy with where I am in life and it definitely shows in the music. At the same time, the person I was during ‘Krit Wuz Here‘ isn’t the person I am now as far as experiencing life and I really want to take people on this journey musically so the next album is even going to be crazier, I promise.

I saw that you went to Australia and had a string of shows over there. How was that experience?

It was beautiful. It was amazing. It’s definitely one of those places that make you say “I could vacation here, for real.” We went to Perth, Brisbane, Melbourne and Sydney. Just the response for the music — being able to do songs like “Country Shit” and the people turn up and the people being so aware of my catalog, was mind blowing. It’s exciting to see how far the music has traveled.

I love the project, I listened to it four times the night that it dropped. Great album art as always. There was  a quote from “King Pt. 4” that I wanted to bring up: “Art is art, no matter how you sculpt it, mold it, grow it…only to go unnoticed.” It seems like you’re still carrying a chip on your shoulder, can it get any heavier or has it reached capacity?

I think it can probably get heavier. I’m one of those people where I feel that musically, I still have to prove myself lyrically. It might just be the pressure that I’m putting on myself and I’m always going to go as hard as I can to make sure that quality music is noted and understood and paid attention to. That bar wasn’t just for me. It’s a lot of other artists that I know who are lyrical giants and musicians and those OGs I grew up listening to that didn’t get the respect they deserved or weren’t noticed. That’s why I put that in there, when it comes to art nowadays shock value gets more attention than a really great body of work or great art and that’s sad. When there’s bright lights and shine, people pay attention to that but they aren’t getting anything from it perhaps versus someone digging deep and listening to something you can actually get some substance and some content from.

The “King” series is just me venting about whatever is going on, not only about the state of hip-hop but how I feel as an artist personally. If I can’t tell the world how I feel, then there’s something wrong. Musically, I’ve always been an open book and put out my emotions right there on wax and that’s what “King Pt. 4” was all about. Even with that song, I’m starting to get to a place where I’m understanding that my path is my path and it’s gonna be what it’s gonna be but that’s not going to stop me from always pushing the envelope. I’m always going to go the distance with my music no matter what, even if people aren’t paying attention or giving me a certain kind of shine like they might do with other artists. I’m still going to go as hard as I can musically and give the people that actually do listen to my music quality over quantity.

I like that you can have the balance with songs like “Shakem Off” and “86” and then still come back with a song like “Got Me Thru.” It was a nice surprise to hear the old Ludacris sample and then to have him actually be on the song.

Shoutout to the OG, because the thing is Luda’s super busy and he was able to get me that verse back in the most timely fashion — and he killed it, which made it even better. It was an amazing experience, because the song I sampled (“Catch Up” from Incognegro) was one of my favorite crunk songs growing up. So to be able to sample that and THEN put him on the song was amazing.

You have this thing to your music where you can work with someone like the late, great B.B. King or Raphael Saddiq and then still do a cut with Trinidad James — who I feel is underrated, by the way. But it covers both ends of the spectrum. What do you think it is about your music that allows you to do that?

I think because the art form is music and it’s a painting. You paint what you want on your canvas and as artists when we collaborate on a record, it’s like collaborating on a mural. Trinidad had a really great idea as far as the song he did for the people (“Black Man Pt. 1”) and I appreciate him knowing that I’m the kind of person who likes to paint those kinds of paintings as well and we can collaborate on a song and it turns into what it is. Like you said, Trinidad is not only for the people, but he’s also a very intelligent cat. The music he makes is something that he believes in and he goes off on his own route and in his own lane. I’m actually excited to see the homie get so much shine from doing a song, having it blow up and then it becoming another record that the homie Bruno Mars ended up sampling it and turning it into something else. I think it’s camaraderie at the end of the day. I never told people that I was perfect. In my projects, I’ve always dropped different kinds of vibes on records because I feel as a person I’m like that, I’m human.

Sometimes I wanna grind and get money, sometimes I wanna hit the club, sometimes I just wanna ride around in my car and sometimes I don’t feel like doing any of that and I just want to have a drink and kick it. I feel like I have to put those vibes in my music because us as humans, we all go through those different emotions. I think that’s what my music become — it’s gotten to the point where it’s so relatable, that people understand how I can do certain records because I haven’t pretended to be anything. I’m just myself. When I do these interviews, they see it. They see I’m human and there’s nothing wrong with that. Sometimes there’s this superhuman aspect about being an artist and then get caught up in trying to uphold a persona that you couldn’t possibly uphold because you’re only human. I just never fell into that persona. I was always being myself and always told people about what I dealt with and how I felt about certain situations. I’ve exposed them to what my family was like and what my upbringing was like without feeling like I should have to hide anything. So I feel like when it was time to do a particular record, people just let me do me — and that’s a beautiful thing.

The easiest thing to be is yourself.

Exactly

You really wanted to work with Bobby Womack before he passed. Were there any other legends that are still here with us that you could probably picture yourself collaborating with?

Man, definitely. Al Green. Off the rip. Al Green would definitely be one of these people that I would love to do a song with. And yeah, Bobby Womack was the one and it hurt me when he passed because that was definitely something that I had looked forward to just because of the songs that I had sampled from him. Frankie Beverly & Maze, I would love to do a song with them. Bootsy Collins. I actually tried to get Bootsy Collins on “Mind Control” on Cadillactica but we just ran out of time and it didn’t go through, but I still plan and would love to work with him. George Clinton, it would be amazing to do a song with him. Those are the people off the top right now that I could name. You know the people that are old school that my dad and them played. Ron Isley. I would love to do a project or at least a song with the Isley Brothers. That would be lovely.

And all the people you named, they’re still out here making music. So it’s definitely possible.

I know. Bill Withers. I have to say Bill Withers too. I would love to do a song with Bill Withers.

One of the songs on It’s Better This Way sounds like it might have a Bill Withers sample on it.

Yeah, definitely. I ain’t gonna say which one, but you’re right.

Follow Big K.R.I.T. on Twitter

The post Interview: Big K.R.I.T. Talks Getting Out Of His Comfort Zone, Dream Collaborations, And More appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Rumor had it that Andre Nickatina would be Andre Nickatina‘s final album, that he would hang up the towel after dropping his 15th record — his self-titled LP that hit shelves this morning. But according to the San Francisco rapper himself, you shouldn’t believe everything you hear. He wouldn’t tell us exactly if he plans to put out more material in the future, but he did dismiss the question of retirement. He refuted the question altogether. Retirement is not predictable like the weather!

In the mid-90s Nickatina gained national attention with hits such as “Killa Whale”. Dodging in and out of the spotlight turned on by local cats E-40 and Too $hort, he dropped I Hate You with a Passion in April of 1995, kick-starting a career that’s spanned two decades.

With that much experience in the game, Nickatina demands RESPECT. When he does retire — because he will someday — he leaves fans with a full catalog of dope material: over 225 joints to ride to, 15 albums to roll with, plus dozens of features.

RESPECT. caught up with Nickatina to coincide with the release of his self-titled album.

**************************************

RESPECT. Congratulations on the new album. I’ve heard rumors it might be your last. Is that true?

Andre Nickatina: Let me hear where you heard the rumors from first, then I’ll tell you if it’s true or not.

I don’t know if I want to leak those sources.

I’m not answering that question if you can’t tell me.

Nima [Nickatina’s PR agent] suggested that it might be.

Ah, I don’t know what Nima talkin’ about.

So you might put out new music after all?

You know, I’m getting up there when it comes to the numbers, but I wouldn’t necessarily say this is my last.

Why drop this self-titled album now? Why is it important for you?

It isn’t important. I don’t think a self-titled album makes you sell more albums. It ain’t about that.

What’s it about?

It ain’t really about nothing. Just raps.

What kind of topics do you touch on?

Ain’t really no topics. Just getting in there with a bunch of raps. Just rapping over the beat. It ain’t necessarily about topics or general aspect or how I was trying to go. Nothing like that.

Okay, well what stage are you at in your music? When I normally ask those questions artists are like, this topic, this topic and this topic, but you seem to have a different perspective. Why is that?

That’s just the way it is. I’m not trying to be different or anything like that. I know a lot of people have topics but shit, I don’t. I don’t look at it like that. I just go in and rap. I don’t really touch on any subjects, or I got to tell you about my life, or tell you about this. I keep it all in perspective. The message is just trying to keep the situation cool, try to be cool.

You often talk about religion in your rhymes. Are you a spiritual guy?

When you hear me say it, what did you think about?

Religion?

Yeah, what religious aspect do I touch on when I say it?

Religion through rap in a sense. You channel your situation in rap through a religious-

My religion is money. My religion is rap. My religion is whatever goes with rap. So even if it’s in bad terms, I’m still with it. It’s just that type of metaphorical religion of trying to get this paper.

That’s cool. I hear that metaphor going as far back as Bullets, Blunts, N Ah Big Bank Roll. When did you start to roll with that metaphor?

That’s what goes on. I’m not trying to work it in there. That’s what goes on in the core of what I’m trying to do. If I’m working hard trying to get it that’s going to come across in there. I don’t necessarily work it in there.

Has the way you make money in the game changed over the years?

It’s changed a lot. You a writer or a journalist?

Both.

Let’s just say, the writing, giving it to Rolling Stone, it’s worth $5000, but before you get it to Rolling Stone everybody gets to read it on Youtube. When you get it to Rolling Stone now it’s only worth $500. That changes your mind state of what the fuck you’re doing. Take the Rolling Stone example. You’re going to be mad as muthafucka if people read your writing before it gets there. But if you’re a real writer you’ll be up in the game and stick to the rules of what you’re doing, and do what you got to do to avoid that aspect.

Do you try to shelter your work?

You can only do so much. For instance, me giving it to Nima and Nima letting you hear it. You know, me personally, I would have been like, nah, don’t let him hear it. But if it has a point to it, to what we’re talking about now, you need to hear to get this interview to go right, I want you to hear it, I want you to hear it so you can have a better sense of the interview, what you’re going to ask. Somebody who’s not supposed to hear it, then fuck no, I don’t want you to hear it. In the aspect of business, I want a business person to hear it right now.

As an artist, how much of this do you need to be consciously aware of, or can you pass off the responsibility to somebody else?

It depends on what kind of label you’re dealing with. If you’re dealing with a major label, of course you’re not the one sending your discs over to the manufacturer. It goes through so many hands, it could be the engineer, the producer that you deal with, so many aspects of how it could get out there. I guess you got to trust. You got to put more trust now in the people touching your music who can hear your music. There’s just so many ways for it to get out. It’s like an octopus with many tentacles.

Are you comfortable with the way the industry is now?

Am I comfortable? I have to be muthafucka. I ain’t going nowhere. I got to put a pillow down somewhere and sit. No matter what goes wrong with it I’ve got to figure it out. No problem.

Over the 20 years you’ve made music in the Bay, or it’s probably longer. Well, how many years would you say it’s been, in total?

23.

Okay, what’s a common thread in the Bay Area hip-hop scene over those years?

Just the consistency of people getting their music out for the masses to hear it, I guess. You get a person like E-40, he puts an album out and people in 50 states know about it. He does a new album with Too $hort, that makes it even better. Too $hort comes with Blow the Whistle. That’s blows up everywhere. People like Keak da Sneak, everyone in the underground too. You got The Jacka who stays underground. Yukmouth, he’s still running around doing his thing.

These are all guys who started out with you when you were younger.

Yeah, that’s what it is. People just staying relevant.

Are there any young guys you’re into?

Um, I don’t really know the young cats. I wish them the best of luck in what they’re doing. I don’t really know a lot of young rap cats. I don’t really know a lot of old rap cats! For real. But they out there doing their thing. More power to them.

You mentioned being in traffic earlier. What are you driving? Are you a car guy?

I’m in the passenger seat right now.

What do you drive?

I’m not fucking telling you so you can tell the world muthafucka.

Isn’t that the point of the interview?

No, we talk about music, not my personal life. I don’t look at the car I’m driving to tell if the music’s dope.

Okay. Can we go back to 2004 and Bullets, Blunts, N Ah Big Bank Roll. Can you expound on some specific lyrics?

Let me hear what you’ve got to say.

One is, “watching fights of Muhammad Ali dodging death with every step.” That’s from “Blood N My Hair”.

I would think back then it was just a Muhammad Ali reference, watching the fights. Every step he took would be a blow of death, so that’s what that was. It doesn’t sound like a situation I would be in. It’s just a lyric of Muhammad Ali at the time.

The other one is “my philosophy is the boss of me,” also from “Blood N My Hair.”

The way you get down is the boss of you. How you wake up and put your left foot in front of right is the boss of you. The philosophy of your life is you. A lot of people can get caught up in a persona of who they really are, getting out there spending more money than they’re actually worth.

What do think your contribution to the culture in the Bay Area has been?

I don’t know. Someone else has to answer that question.

What’s your friend in the car say? You said you’re in the passenger seat.

They would never answer that question. To that person I’m just a regular person. They probably think, “he ain’t shit, this nigga ain’t shit.” [laughs]

What do you hope your contribution is?

Just being known as a rap cat, who woke up, ate and slept rap. I’m don’t want to compare myself to anyone. If we were at the basketball court, I would want to be somebody who gets picked to play. That’s it. If I was on the court I would just want to be picked to play. I don’t care if I get picked first or fifth, it’s alright with me.

Talking to you, you come across as down-to-Earth, or concerned about giving the impression that you’re down-to-Earth? Have you always been like that, say when you were younger?

I wasn’t practicing to be me. I was just being me. I’m just being me now. I’m not trying to be down-to-Earth. I think we’re just talking as civilized men. These are civilized questions so I’m trying to give civilized answers.

Maybe I’m used to talking to younger, trending rappers. Could be different.

I can feel you, man. Even when I was younger I don’t think I would have tried to come off as the best, or trying to be the best, or like, “I’m going to give you an album that’s going to change the game,” shit like that. It’s just conversation, just conversation.

Going way back, why’d you switch from Dre Dog to Andre Nickatina?

It just made more sense for business. When it comes to the rhyme game, there were small phases of the Ski’s and emcee’s boom boom boom and the dog names. It was a business decision to go back and say hey, Andre is Andre, go with me.

It’s more timeless.

It’s a better business term.

What is Nickatina?

It’s always been there.

When I go on iTunes and look at the I Hate You with a Passion cover, it’s of a whale, which wasn’t the original cover. Who made that whale cover? It’s very interesting.

A person I had working for me at the time made it. There was a different cover at first, but the song “Killa Whale” got so popular I changed the cover. It was better for that.

Why change it though?

The first cover was owned by another record company. The album cover got turned over to me after a couple of years, so I changed it to that.

What about the new album, with the red and the silhouette on the cover?

It just looked like a good silhouette. That’s it.

Is that you now, or an old picture?

It’s an old picture, but it’s still me now.

[laughs] I’m a fan of album covers, that’s why I asked.

I can dig that.

Do you have any favorites?

Music to Driveby by Compton’s Most Wanted, MC Eiht, Sign o the Times by Prince. I like that Al Green I’m Still in Love with You album where he’s in all white but has black socks on. [laughs] The whole album’s white, his outfit’s white, but he’s got black socks on. [laughs]

Anything to add about your new album?

Naw.

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