Supercoven

 Listen here, this interview rules and it happens to be with a “rapper”. Rap and metal has joined in the past and with disastrous results I might add. I won’t mention THAT “music” or THOSE “bands”. As the asshole purist that I am, it ain’t worth it. But with Goretex, it is WAAAAAY different. Like your Mommy said, “don’t judge a book by it’s cover”, or was it “hey stupid, stop jerking off or you will go blind”? FUUUUCK! Well whatever she said, she was RIGHT! Now Goretex is not only into metal. He is a MANIAC about metal. And he has been into the deep underground for years and knows his shit. So after I talked with him about how fucking awesome the Immolation Demo ‘88 is, I had to get a talk with him in here. Gore could have been a fucking opera singer after THAT talk, and I would have got him on here. But I was fascinated with how similar our taste in metal, as well as our overall outlook on shit is. This dude ain’t no trendy poser jumping around to different types of music because he is bored of rap. He is a true fan and he is more “metal” than quite a few people who might run into this interview on here. So read it and weep posers! And to the true, Goretex is one of US! And as he said, HAIL SATAN!

Abominator: Hails Mitch. Thanks for your time. What are you currently up to these days?

GORE: Cheers, brother..I’ve been in the studio for a while now cooking some new treats up for the album ..staying out of trouble. Not an easy task.

Abominator: I want to go back to when you first got into heavy metal. Talk about that. And what were the first records that you bought?


GORE: I think like a lot of kids i was into Kiss at an early age, like 4 or 5 but it was more for the toys, lunchboxes and assorted merch. They were larger than life back then, I identified with the imagery of Gene spitting all the blood bubbles, especially on Kiss Alive II. I got horny and stole a handful of Kiss ‘view masters’, which were these little cartridges youd stuff in this little viewer and you would hit the button and change pics when you looked through it, it was far out then. Around the summer of 80′ my mom was shipping me off to summer camp as soon as she could, i was caught breaking into and vandalizing my school , which was fucking dumb since i lived directly across the street from the school. I stole some cassettes from the counselors, like Priest “Point Of Entry”, “Killers” by Maiden which just came out..First i bought with my own cash would be “Number Of The Beast”, and “Screaming For Vengeance”..they were like $11.49 each..a shitload of cash then. In Malverne on Long Island back then i discovered some deserted train tracks behind my mothers friend’s house, so i journeyed down there to find all sorts of cult activity it seemed. This had to be like 80/81, typical ..bloodstained walls, Ozzy graffiti..upside down crosses, dead birds and animals. Bloody capes left around. Bad Maiden “Eddie’s” spray painted and a foul smell i couldn’t place. i think it was all downhill from there.

Abominator: What bands and albums of metal are currently blasting out of your players? Any “genre” of metal.


GORE: It always changes depending on my mental health i suppose. Right now Excel, Runemagick, Tribulation, Abruptum, Impiety, Sadus, Dokken, Black Torment, Hades(NJ), Ribspreader, Count Raven, Bedemon, Absu, early Scorpions.

Abominator:  When did you start rapping? Did heavy metal twist you towards the dark and extreme side of music?


GORE: My cousin got me into it he was a dj back then , had all the old school vinyl, boom box..all that stuff. I understood it completely, but didn’t think rapping about “Eddie”, or the flying thing from “Screaming For Vengeance” would be cool subject matter. Ive always been drawn to rhythmic structures in music primarily so i understood the asthetic value. Whatever satanic force/possession took a hold of me in the train tracks i think corrupted me for good. Hell Awaits and To Mega Therion had me cutting school to stay home and make custom spiked nailed gauntlets like Kerry King’s on the “Ultimate Revenge” VHS. My buddy Phil who killed himself in upstate NY, we had a band we started then called Warlock, or Hell Spawn..which was more traditional metal. He would wear corpsepaint and cut himself. Once “Ride the Lightning” dropped, everything changed. Everything became more extreme. I’d try to invite normal girls over from school, we’d order pizza and id alienate them by playing Venom, even Armored Saint or Cities. There were no metal girls back then i learned, if there were they were brainwashed by a guy, the usual. Shit, imagine there was internet in 1984/85, with hot sluts wearing Sodom longsleeves haha..I made money by stealing all the latest metal mags and cutting out all the pictures and framing them. Some girls wanted Ratt, or Crue pics, so id go buy cheap picture frames at the flea markets and get my hustle on. After that i started my own zine Graphic Violence, when i moved to the projects. I bought an electric typewriter which despite me breaking my ass, i was 12 years old, cutting out, collecting demos, typing and xeroxing, cutting everything and repeating it over. I was writing letters to everyone and anyone in the scene back then. It overtook my life. I was getting known as that “sick little fucker from NY”. Borivoj Krgin invited me up to his office to show me the lifesize cover of Atheist’s “Piece Of Time” in his office before the album was out, it was huge…Id call Alex from Testamant one day, cut out next day and interview Steve from Atheist, or Bob from Immolation. I’d walk up to Noize records to talk to Mille from Kreator when “Extreme Aggression” came out. Good memories..That is when shit meant something. PRE-fucking internet….I ruined 7th grade by being absent 68 days just to stalk the mailman cause i knew he’d have packages and goodies for me..I racked up hundreds of dollars on phone bills my mom couldnt afford, but got anyone that mattered in death metal and thrash in my zine at the time. i wrote letters to everyone..Nihilist, Immolation, Sindrone, Master, Genocide, Necrodeath, Xecutioner..Chakal

Abominator: Do you also produce and record your own music? Tell me about the process that goes into the song writing process for you.


GORE: I have produced some stuff Ive done for myself in the past and  on various solo stuff. The new record will have some stuff Ive done as well. the difference now is i have younger producers who are very hungry and dedicated to the art and cult. The Non Phixion stuff had big guys on it,  like DJ Premier and Pete Rock, but these days i don’t really hear too much new stuff that anyone does that i feel i cant accomplish on my own, plus i like to work with very hungry, ritualistic characters..i don’t need to pay anyone $8000 for a beat so they can go buy a car off my back, fuck that. No Thanks, been there done that. I work with people who still care about the music and its integrity and the ritual side of it. I think i take music way too seriously..with hip hop the words are very important, but these days hip hop is I feel with a few artists aside, is out of gas. Everyone wants to be a rapper, or DJ or producer, they think daddy buying them a $200,000 dollar studio will give them a career or respect..it’s not for everyone yet to the human eye they think it’s easy to do. It’s funny to also see every shitty confused deathcore band also, maybe 2 out of 60 do anything. If you make a gay florecent emo deathcore logo with pastel design’s, chances are your band will sell. One or two “new thrash” bands come out like Warbringer, Skeleton Witch or Violator and then theres 100 more newer thrash bands that suck and think theres a new renaissance brewing, not to say those bands suck there pretty good, but i think all of the “new thrash’ is missing that something. You cant recreate that history, nor will you ever get that crunch. Unless your Gary Holt. As far as rap i wont even call it Hip Hop, major labels are only signing that down south shit, or if you are related to Ludacris or have a shitty beat that can be raped as a ringtone you may get in,  other than that its all hook ups and closed doors, which is ironic since, underground rap is dead.There is no room for an artist to grow, and your canned if you don’t sell 150,000 copies of your first album. Its a mockery really. Labels are mortified and losing cash everyday. I’m content to sell cd’s out of a fucking trunk if i have too, its the same mentality as selling drugs. at least i know how many were sold. Everyone steals music or they use the old ‘If i download it and like it ll go buy it” haha that bullshit. It’s similar to a new black metal group with an unreadable logo, who threw together a basement tape rehearsing, out of tune, and put some paint on their faces. It’s all assembly line bullshit, except this guy has a two million dollar home, car and 70 chains on. It’s faceless. Truth is any one of these shitty rappers you see on mtv or where-ever are just moving large sums of drugs. They are getting away with it too. In that regard it’s cool. Fuck the system cause it’s all coming down soon. Get money FTW.
The process of writing for me is based on atmosphere or whatever trauma my head is in. It’s usually alone in the dark. Some out of body experiences at night, sometimes help me focus on getting the inner-subliminals out. The depression and confusion are molded into something visceral for me.There can be chemicals or not. I generally do a lot of research and like to read as well. I like getting the listener involved in ideas they are hearing in the music.

Abominator: Being out on the East Coast, do you get to check out a lot of metal shows? What are some of the best that you have ever been to?


GORE: I go to shows here and there if its worth it..Unearthly Trance, EHG, Sleep, Toxic Holocaust but most of the best shows i have seen in New York are the shows i would see at L’amours here in Brooklyn, probably pre -1991, which had the sickest in the east coast. I think seeing Death in 88 was probably the most bloodboiling, i didn’t understand how Chuck’s voice was so brutal but he didn’t open his mouth at all really and was effortless for him. Bill Andrews kick drums mangled me too particularly on his down/up beats. Leprosy just dropped. Carcass in 89 was unspeakable…The Exodus/Anthrax headbangers tour was great too then..King Diamond..Vio-lence in their first NY show, Prime Evil, Nuclear Assault..Cities. Destruction in 89 was savage, Entombed back then was also insanity. After Destruction I managed to sneak backstage and interview Schmier after the show. I didn’t drink beer then but he persuaded me to have one with him ,but i really wanted a Gatorade but felt like a pussy telling him that.

Abominator: Give me some of your all time top albums of metal.
That’s a hard one brother..First 4 Sabbath records, All Maiden’s stuff up to Live After Death, (somewhere at the beginning of 1986 i felt the powers being sucked out of that group.)
in noo order.


GORE: Manowar – Battle hymns

Obituary- Slowly We Rot

Voi Vod- Killing Technology

Slayer- Hell Awaits

Vio-lence – Eternal Nightmare
Celtic Frost- Morbid tales
Sepultura – schizophrenia

D.R.I – Dealing with it
Deathrow – Deception ignored

Anthrax – Among The Living
Sarcofago – INRI

Repulsion – Horrified

Excel – Split Image
Mayhem/Morbid live split

Saint Vitus- Thirsty And Miserable
Witchfinder General – Freinds Of hell/all
Entombed – left hand path
Def leppard – pyromania

Autopsy- Mental Funeral

Death – Scream Bloody Gore
Darkthrone – soulside
Kyuss- and the circus

Kreator – Terrible Certainty
Possessed – all

Immolation- Immolation
Napalm Death-scum

Metallica- ride the lightning

Witchcraft- all
Down-S/t (1995)

Morbid Angel – Altars Of Madness

W.A.S.P- (1984)
Terrorizer- World Downfall

Twisted Sister – Stay Hungry
Carcass- Necrotism

Blue Cheer- Inside/Outside

Atheist – Piece Of Time

At The Gates – Soul
Siege-All
Eyehategod- Take as Needed for Pain
Sleep- Holy mountain
Megadeth – Peace Sells

Abominator: Now give me some of your all time top hip hop albums.

GORE:
Rakim -Follow the leader.
Rakim- Let The Rythem hit Em

Wu Tang- Wu Tang forever

Geto Boys- ALL
NWA – Appettite for Destruction
Scarface- Mr Scarface

Ghostface killah – Iron man

Gza – Liquid swords
Dr Dre – The Chronic

A Tribe Called quest – First two

Raekwon – Only Built For Cuban Links

Public Enemy – It Takes A Nation..

Abominator: What are some of the darker, heavier, more extreme rap/hip hop artists that you are into? You ever perform with Dalek?

GORE: I haven’t performed with them no, there cool though..I am not sure there is anything modern that is extreme, but whats extreme ya know?..Kool Keith, sure..he was a gas,  but some guy in a stupid 40 dollar cap with baggy pants he got at TJ Maxx 8 years too late is a fail. Maybe some rapper will mention Metallica and Obituary in their songs 32 times lol..that was impressive in 1989 when i was doing it. In 94 i was referencing Eyehategod in hip hop which is still 16 years ago ha… Whats extreme?..Some fat douchebag wearing a Slayer hoodie?..I see a lot of trendy unlistenable novice -bedroom horror rap, which is awful. They should die. The two genres should never be combined. Only by professional satanists.
The darkest moment period in hip hop is rapper Big Lurch..He smoked a shitload of angel dust, got into a argument with his girl and beat her, stabbed her 100 times and cooked her liver and stomach on the stove. He had dishes set on his table. When police arrived her liver was being boiled. There is an artist named Lil Boosie who style wise is a throw back to some of the Geto Boys stuff. He killed 7 people and has been tried for 2 murders, he wears a Lector mask too which is cool. He will get the death penalty. Other than that i am more intrigued with finish black metal and cheap obscure bay-area thrash.

Abominator: I will say a few things, just respond with one word of how you feel about them: Justin Broadrick. Black Sabbath. The Rza. Slayer. Public Enemy.
GORE: 1.innovator 2. Father 3. PCP 4. Kill 5. Riot

Abominator: What are some future plans for your next album? Any tour plans?
GORE: Right now like i said im working on the new record. I’m taking my time so it s not something i learn to dislike. Im not being rushed this time and there is no negative energy or jealousy straining this project. I am doing everything myself this time, Id hate to have to go to some record exec’s house and tie him up again haha..Once released i will be touring every crack and asshole of the planet to spread my apocalyptic rants and hatred.. It will be out before the end of the year. The Supercoven website will also be up very soon with tons of new merch etc. I will also be writing a book soon about my life, if i don’t die.

Abominator: Thank you for your time man! Any last words? Where can people check out your music and merchandise?


Thanks man….I also produced a band from NY,  Bleach Eater, they will also come out on Supercoven Recordings. They sound like Unseen Terror, Repulsion and Morbid Angel a bit, I produced their EP “Night Work” and we are working on their full length too. I have some shit up my sleeve. The Supercoven record will come out and for those of you wondering, yes i am legally no longer allowed to use my former name Goretex on cd’s, merch or dvd’s. I was ratted out to the actual company, with a highly thought out plot to try and destroy me. I have no name which suits me better. I will not be stopped.

Hail Satan.

Interview by Mike Abominator @ Metal Maniacs

http://www.metalmaniacs.com/2010/interview-with-goretex/

The Return Of Sadat X

By Khalid Strickland a.k.a. Black Pacino

The mainstream news media likes to sensationalize hood news. Low-level drug dealers are portrayed as kingpins, dirty cops are exalted as heroes and all acts of violence are drug-related. Negativity is always highlighted.

Like many rappers before and after him, Sadat X of the legendary trio Brand Nubian was arrested in 2005 on a variety of charges. Here is the story as it was told by the New York Post back then:

A rapper who describes himself as a “Wild Cowboy” allegedly acted like an Old West gunslinger this week when he waved a large pistol at three teens in Harlem, police said yesterday. Hip hop star Sadat X, of the group Brand Nubian, allegedly boasted “I’m going to kill everybody” as he flashed a loaded .40-caliber black Beretta at a group of 18-year-olds at West 158th Street and Broadway Thursday, according to cops. Police sources said X also told the youths, “I’m looking for a guy with braids.”

After cops from the 33rd Precinct were called to the scene, the victims pointed out X, who was still standing across the street with the pistol. When police attempted to arrest the 37-year-old, whose real name is Derek Murphy, he ran. He was tackled quickly. He was arraigned yesterday in Manhattan Supreme Court on charges of criminal possession of a weapon, reckless endangerment and resisting arrest. Sadat X and Brand Nubian are most famous for the 1993 song “Punks Jump Up To Get Beat Down.”

Sadat served one year at Rikers Island. After his bid, he kept busy with a lot of guest-rapper cameos and recorded multiple albums. One of these albums, Generation X, was distributed by Affluent Records in 2008. I’m cool with Oscar Sanchez, the CEO of Affluent, so I was given the opportunity to interview Sadat. Okay, so he wasn’t fresh outta Rikers when we spoke that night. Guess I’m guilty of media sensationalism my damn self. But the reprocussions of a bid can linger.

My story on Sadat X was published by the New York Amsterdam News. The full, raw interview was never released… until now. Below the jump, I’ve posted the Q&A session in its entirety. Among other topics, Sadat told me the real deal about his incident with the burner and he made very good points about Amerikkka’s flawed prison system. As long as niggas keep gettin’ locked up, a story like this never gets old.


Black Pacino: You recently paid so-called “debts to society.” Is that something you can elaborate on, as far as why you had to go away for a while?

Sadat X: Okay, well first of all the news reports was all wrong because everything kept saying I was in the middle of the street waving a gun wild and I ran up on kids. First of all, let’s get an understanding. Being that it was Broadway, I lived on 157th and Riverside. This is Broadway that they said I was waving the gun on and everybody knows that’s a hard drug capital of New York, as far as cocaine and stuff like that. If I would’ve even brought a gun in the middle of the street wild like they said I was, I would’ve been a mural on somebody’s wall.

And the second thing is, it was a dispute I had with these guys over something concerning my man. We was goin’ back and forth, me and these Dominican dudes. And this is not to say all Dominican dudes ‘cuz I lived over there and I got good Dominican friends. It just so happened these particular dudes we was goin’ back and forth with. Now, I usually always have my firearm on me… that was just from being in New York. They knew I had it on me, we was goin’ back and forth, they just called police on me. The day in question… when I woke up that day I went to the store. I went to McDonald’s, I went and got a haircut and I went and got my cleaning. Now when I was coming back down Broadway, that’s when police ran up on me like that.

I didn’t wave the gun at no kids or anything but understand this: If it was kids, then that means they would’ve been about 17, 18 or 19. If you out there portraying some type of role, when it comes back to you… you gotta take everything that comes with that role. If you playin’ a grown man game don’t front when something happens to you and claim kid. You understand what I’m sayin’?

Pacino: Hell yeah. You right.

Sadat: So it was basically like that and the dudes is grown men, it wasn’t no kids. I worked in a school and I coached basketball, I know the difference between grown men and kids. I wasn’t wavin’ no gun in the street. And they said I resisted arrest. How you gonna resist arrest with a gun? This article came out in The New York Post and I was wondering, “Well, who from The Post was outside when this was going on?” To actually see this and write this and where did they get this information from? You know? But basically I did that, I went to Rikers Island for the year. I got a gun possession charge, which was my second gun felony… which therefore nullified me for working with (kids).

And this is what really upsets me about the matter because now, I’ve got a violent felony charge. I was working at a school, working towards becoming a full-fledged teacher, which now in New York state I can no longer do that. I can no longer work in city jobs or anything like that. And my thing is, a lot of times with these charges, they give you a felony charge, they send you to Rikers Island, then they come out and you’re expected to get a job. Where you supposed to work at? You can’t get a city job. You can’t work in no schools. So what do they expect dudes to do but go back to what they was doin’?

And as far as Rikers Island goes for criminals, that’s the best place to make a contact. If you got Rikers Island and you was doing anything illegal… selling drug, guns or anything… what better place to meet people that’s in there with the same charges as you got? 9 times out of 10, most people in Rikers Island connect with people, then they come out in the street and do the same thing all over again… but that’s how they got the contacts.

Pacino: Like a networking party.

Sadat: Exactly. There’s no rehabilitation. The state has taken away the college programs and stuff like that so there’s no programs of rehabilitation on Rikers Island. Basically they’re just throwing you in a dorm setting or in a cell and just telling you, “Listen, try to maintain if you can and get your time off.” There’s no rehabilitation going on Rikers Island.



Pacino: Although it ain’t completely your fault that all of this shit happened, is your mindstate any different now than it was before you went in?

Sadat: Yeah. It was my fault because I know better than that and I’m mad at myself for allowing myself to become into a situation like that, so I do put part of the blame on myself. It has made me learn to control my attitude and my temper a lil’ more. And it made me, I guess, more reflective of what’s going on and how a single action can jam you and determine your life.

Pacino: As a pioneer, do you feel that New York rap fell off and if so, what can be done to regain our stature?

Sadat: Well, I don’t feel New York rap fell off, I feel we lost our identity at some point. Throughout the years, New York rappers have always been pioneers and trendsetters in this game. And I think for a minute we fell back and let other people dictate New York rap. And I feel on the radio and everything, they let other places dictate us. I have no problems with the South. I love the South, I love some of the Southern rappers but I feel like a lot of New York rappers felt that was the way to go and came out other than themselves. I feel like New York radio fell victim to this too. I give stuff to a lot of deejays… to Flex, Cypha (Soundz), other deejays… ‘cuz I don’t never hear my stuff, you know what I’m sayin? And I can say their names ‘cuz they not gonna come back and do anything to me. Flex, Cypha, a couple of them deejays I send stuff to. They give me their emails and I send stuff to ‘em and I don’t never hear my stuff. I don’t beef about it because I know my other lanes but I’m like, “Damn, at least give it a chance.”



Pacino: I was going to ask about your relationship with the other members of Brand Nubian but obviously, everything is all good if ya’all got some new shit about to drop.

Sadat: Yeah, see that’s the misconception. A lot of people think since we broke up, in that time we wasn’t friends. We been doing shows and stuff since then. It’s just that in New York, they don’t give our stuff no chance on the radio and it’s not that many shows and venues for us to perform at. Like sometimes we perform at Knitting Factory or S.O.B.’s. My dudes in the Bronx, Brooklyn and the hoods, they don’t know them spots. They just know the spots they hear about on the radio but we don’t perform at those spots. They don’t ask us to perform at those spots. But now it seems like it’s a resurgence, this last year I see, of supposedly old-school rappers that they are giving the venues again a lil’ sumthin. And that’s good but we’ve been performing all over the world for the last ten years.

Pacino: Do you feel like you’ve got to re-introduce yourself to these new fans nowadays?

Sadat: In a way you do because when you’ve been rappin’ for a while like myself and other rappers, you do in a sense have to re-introduce yourself ‘cuz a lot of these kids don’t know you and you always want to keep your music up to par. At least stay up with the times and stuff. I hear a lot of old-school rappers talkin’ about, “Rap owes me this…” Rap don’t owe you nothing. If you want to get mad at somebody, get mad at your mother and father for having you ten years too soon or whatever. But rap don’t owe you nothing. And a lot of these old-school artists are like, “I don’t get my stuff played” and this and that. A lot of old-school rappers think they can still rap in the way they did when they first came out. You can’t rap like that no more. If you make some bullshit and you’re an old-school rapper, I ain’t gonna listen to it either.

Kosha Dillz

I must say it's nice to see a rapper being himself these days. There are no drive by shootings, heroin deals or talk of Maybach's anywhere on his new cd "Beverly Dillz". Dillz is your every man sort of rapper, not afraid to be himself. For better or worse. We caught up with Dillz fresh off of tour to spread some of his flavored chumus on us.

Dillz, how is it hanging brother? Tell them who you are.

Hey, I'm Kosha Dillz, just an ordinary Israeli-New Jersey emcee/ musician trying to make a name for himself and inspire the listener to have fun and let go of themselves.

Awesome I like that mentality. I hear you were on tour with Snoop Dogg, how did that go?

Opening for Snoop was great. I played the shows in Holland with him. Just imagine the amount of fans who were die hungry for a global icon, got to meet me right before that. It was so monumental for my career since I have been working for the moments and opportunities. I just did around 14-15 shows in 17 days.

Sick..sounds like your in grind mode. How did you get mixed up with Hip Hop?

Hip Hop found me. Just through my friends when we partied in high school. Wu Tang was a big influence and my friend Yak Ballz was coming up in the NYC scene when we were in high school. It wasn't able to be duplicated. I went out to a show and it was 8 mile of NYC. (Nuyorican Poets Cafe) The battle scene. I smoked weed and somehow got on stage and that was the dawn of a new day. 10-11 years later I'm opening up for Snoop Dogg in Holland after the promoter saw me play @ SXSW in Austin Texas.

Your doing it up dog. Any strange mishaps on tour? I'm sure the groupies wanted a kosher joy ride huh? haha

Well many strange things have happened on tour. The night I played with Snoop In Amsterdam I went back to the apartment and my host gave me the wrong Key. I went around the corner and was so mad that I couldn't find my DJ who was in a hotel so we went to this hostel that a guy on the street brought me to. I was so frustrated I had a pocket full of money but told him I had no money and demanded I needed a place to stay. There was weird things in this hostel and well I slept in quite late. I guess my night of prestige turned into a night from hell, and I woke up saying "Only Me."

No ATM i suppose? Whats next for Dillz?

The next thing for me is to go to bed. I have an album out called Beverly Dillz that is on iTunes. I'm recording new music with a producer named Shuko and I'm planning a full US tour as we speak for fall. I also will be in the video game NBA2k11 as a character, and I'm collecting diaries of my time in jail to release with my next project.

I'm going to Czech Republic for some shows and going to London, Vermont, and LA as well.

As far as people I'm working with...
I'm finding some amazing talent from Utah to NY to DC.
I'm working with some good cats with me like Pig Pen, Pat Maine (UT), Kyle Rapps (NY) and Flex Mathews (DC). Kyle Rapps is a children's poet by day who has an amazing album with Belief (who did my album Beverly Dillz) he recorded part of it in Ghana and some in LA. Its really great stuff. he also is doing a project with Kev Brown. Pig Pen and Pat Maine are all over the USA on the DIY grind, and Flex Mathews is my partner in crime/rhyme.
 
Thanks so much for the interview. I def' did not have rap in the attic before this interview, but now I'll be sure to put my old rhyme books in a safe place!

Kosha Dillz World

Michal Urbaniak

Although Mike is well respected in the suit and tie expensive $50 dollar drink miniumum joints, those in the know would know that the guy is most loved for his early seventies funk fusion vulgarities.After Urbaniak returned to Poland and the violin (which he abandoned for the saxophone during the time in Scandinavia), he created the self-named "Michał Urbaniak Group", to which he invited, among others, Adam Makowicz (piano) and Urszula Dudziak (vocals). They recorded their first international album, Parathyphus B, and played on many festivals, including Jazz Jamboree in 1969–1972. During the Montreux'71 festival, Urbaniak was awarded "Grand Prix" for the best soloist and scholarship by the prestigious Berklee College of Music in Boston. After many triumphant concerts in Europe and the USA, in May 1973 he played for the last time before a Polish audience and emigrated with Urszula Dudziak on September 11, 1973, to the United States, where he now lives as US citizen.

In spite of getting an award from Berklee, he did not study there. Recommended by John H. Hammond, Urbaniak signed a contract with Columbia Records, who published the west-German album Super Constellation under the name Fusion. For the promotion tour, he invited Polish musicians, including Czesław Bartkowski, Paweł Jarzębski, and Wojciech Karolak. In 1974, Urbaniak formed the band Fusion, and introduced melodic and rhythmic elements of Polish folk music into his funky New York based music.

Since 1970, Urbaniak is playing on a custom-made, five string violin furnished especially for him, violin synthesizer called "talkin'" violin, soprano, alto and tenor saxophones and on lyricon (electric sax-like horn). His fusion with a hint of folklore was becoming popular among the leaders of American jazz, and also provided opportunity for many new musicians (Harold Williams, Steve Jordan, Marcus Miller, Kenny Kirkland, Omar Hakim, and Victor Bailey. He started to play in well known clubs such as Village Vanguard and Village Gate, in famous concert halls such as Carnegie Hall, Beacon Theatre, and Avery Fisher Hall. In this period he played with such stars as Weather Report, Freddie Hubbard, Elvin Jones, Herbie Hancock, Chick Corea, George Benson, and Billy Cobham.

Urbaniak has invited and has been invited by many other well known jazz stars, including Lenny White, Wayne Shorter, Marcus Miller, Joe Zawinul, Ron Carter, Kenny Barron, Buster Williams and Quincy Jones. In 1985, he was invited to play during the recording of Tutu with the father of fusion, Miles Davis. Davis is reported to have said on this occasion: "Get me this fucking Polish fiddler, he's got the sound!"

Discography
Paratyphus B (1970)
Inactin (1971)
New Violin Summit (with Don "Sugarcane" Harris, Jean-Luc Ponty, Nipso Brantner, Terje Rypdal, Wolfgang Dauner, Neville Whitehead, Robert Wyatt) (1972)[1]
Super Constellation (and Constellation In Concert) (1973)
Polish Jazz (1973)
Atma (1974)
Fusion (1974)
Funk Factory (1975)
Fusion III (1975)
Body English (1976)
Urbaniak (1977)
Ecstasy (1978)
Music For Violin And Jazz Quartet (1980)
Serenade for The City (1980)

Green Pumas

I myself have a hard time relating to much new processed gerbil shit they dare call hip hop. This is club music for muscle mongoloids pumped up with enough xanies to choke an ox. Well a pack of Ox's. I can understand that, but where is the integrity? What happened to the real love for the art and craft of it all? While this is a graffiti picture, personally it more sums up the lifestyle. The Green Puma's, the Sun Dew twenty-five cent drink, the markers. Pre-internet, pre-everything.