I wanted to create an album that spoke all the musical languages I loved.
I never wanted to do the mixtape circuit and 300,000 people hear it and that's a chapter of my life and when I do another album I'm coming off of that chapter but the whole world didn't hear that chapter so it's like I would have to start over.
Every time someone come out with an album don't change the whole style up but don't do what they are expecting. Surprise them.
I only made x amount of albums in 20 years and to still be living comfortably. A lot of people and friends look at me and be like yo Ra how do you do it? You don't go on tour every year and you don't make an album every year, you chill with your family and watch TV. Everyone else is out on tour getting that money. But I managed to do my thing right with the help of my accountant and I'm still comfortable.
My son plays football so I coach a couple of his teams. My youngest son just started playing last year and I assistant coached for one of his teams. I try to be there as much as I can. I also want to kill the stereotype. I want them to respect me as a man and a father first and then if you like hip hop go buy my album.
When I hear my first album today I hear myself reading my rhymes but I'm my worst critic.
I wrote, in total, about 50 or so songs (finished and unfinished) in the 2 and a half years leading up until this moment, and trying to decide what songs to include on the Mini-Album was super difficult, because there were so many different sound/mood roads I could have gone down. But, after going through everything, these tracks seemed to fit together and communicate a similar sentiment and mood the best.
I'm really into a lot of different music, and a lot of stuff that sounds absolutely nothing like anything on the Mini-Album.
Like, in retrospect, this whole Mini-Album is about itself, and the process of letting go of the fear of what people will think about the music or of me or whatever and just putting it out there. But none of that was intentional at all.
Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.
We listen to the greats. I'm not going to listen to average rap when I can listen to an Outkast album.
I lived in Brooklyn for a year and I moved out to Rockaway Beach. I've been living here for two years now. I put my address on the album, so I have a lot of visitors all the time.
I've never done an album in the same place really - I like to be able to remember where I did every single one of them .
I make a living off of playing shows; the albums only make me a fraction of what I make off of shows, especially since I'm doing around 100 shows a year.
To get 300 songs to fit together on an album, it's not like I choose 300 songs and say these are the ones I wanted to pick. To get those 300 songs I sampled 1000's of songs and narrowed down the ones I felt worked the best musically.
I try to deliver because I don't believe that people are deliverin' the same quality of albums.
If you're making a time capsule you have to throw my album in there.
I didn't really think that it would be as easy as this. I did believe that the album [Faith] had a chance, because I though the material was strong enough, but things have just gone like clockwork. It's been incredible.
Things that I was writing for Wham! were a strong indication of what my future album would be like. But most people got so lost in our image and found it pretty repulsive.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
Everytime you put an album out with any producer you do the same thing.
If nobody wants to buy your album, who's going to buy your clothes?
Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.
I just feel so much joy and gratitude that people have connected to it in this way. The biggest reward that I could ever get is seeing women, especially black women, talk about what this album ['A Seat at the Table'] has done, the solace it has given them.
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