I’ll admit, beside his “The Exorcist”, I didn’t know much about Little Vic before his new album “Each Dawn I Die” dropped this spring. After releasing “The Exorcist” in 2005, he kind of disappeared for a bit. When the album dropped, even though some of my fellow bloggers were praising it, I kind of slept on it. When I was getting ready for this interview, I started giving the album it’s proper attention and realized it was pretty damn good album. WYDU had a chance to speak to the Little Vic and this is what became of it……
The Exorcist (Prod By DJ Premier)
The Evil That Men Do (Produced By Buckwild)
Caked Up feat Kool G Rap
WYDU: Hey man, thanks for taking the time to speak with us. Could you give
the readers a little bit on who you are and your background?
Little Vic: I am a rapper/producer from Long Island inspired by all genres of music. My parents listened to everything from Mahalia Jackson to the Gipsy Kings so my home was always a musical environment. Got my MPC3000 when I was 15, and thats when it all began.
W: Coming out of New York, Long Island to be exact, what were some of
your early memories of hip hop and when did you strike you that you
wanted to be involved in some way?
LV: I listened to everything. Naturally EPMD & Keith Murray who are Long Island natives were inspiration, but I listened for beats back then as much as I checked for lyrics. So I had a Group Home “Suspended in Time”, then a Nine “Fo’eva Blunted”, then an Artifacts “Wrong side of the tracks”, M.O.P. “Downtown Swinga ’94″ all on one tape…As a matter of fact I gotta burn that Cd now.
W: The first time I heard of you was on the Primo produced “The
Exorcist”, which was released in 2005, I’m assuming that was your
first big “break”. How did you hook up with Primo and how was it
working with him?
LV: I hooked up with Primo through my partner King a.k.a. Lunatic Mind. He knew someone who knew Primo’s manager Gary and so forth. Working at the Old D&D is like nothing else. You know that your in the same booth as endless legends, and suddenly you feel like one. I’m gonna make sure I go back to prim, he will always have something to knock your head off your shoulders.
W: The song actually has a fairly positive message for what sonically
sounds like a dark track and the title might suggest, what was your
inspiration when writing the track?
LV: I was going through some tough times…the reason being, I was young and I didn’t know if this is what I wanted to offer all my time to. When we came up with the budget money, and got Primo…that all changed. It was real. It was like, “Here’s your chance, take it.” I got a lot better since then, so our next collab is going to be retarded.
W: How do you write your lyrics, do you have a concept then pick a beat,
or do you hear a beat then come up with the lyrics?
LV: Sometimes I write on the spot to something Im working on off the MPC. Sometimes I’ll check through the safari of instrumentals I have from the crew & foreign producers that I work with. My favorite thing to do is write it on the spot though.
W: After that track was released, I know I was waitin’ to check more
material from but it seemed like there was a chunk of time between the
single dropping and the album, which in some ways kind of caught some
of us by surprise? How difficult was it to build the momentum up
LV: Very difficult. It wasn’t the recording, producing, or writing that held me back. It was managerial shit, living situations, & all the nonsense that comes with the territory. That will never happen again.
LV: Well, at Orena Records we call it an EP. The only reason is because I released Caked Up, Exorcist, and The Evil that men do previously. The eight other tracks were all recorded at my house, and I could have easily had a 21 track album or more. Is it an expanded EP, or a Shortened LP? Who knows. It was done on purpose to an extent.
W: You also have another legend producing a track for you in Buckwild on
the track “The Evil That Men Do”, how did that come about?
LV: Big KO introduced me to Buckwild at his old studio in the Bronx. He played a couple incredible tracks, and the rest is history. Bucks another guy im gonna always reach out to. The reason beats SUCK today, is because people overlook superior production to have a weightless name attached to their record. Buck will make sure the tracks he touches are dope.
W: It seems some of the other producers are a little more on the unknown
side, who are some of the other producers you have on the album?
LV: Double Shot executive produced it. Double Shot is Me, John John, and Joey Fuckin P. We did “Dying Slowly”,”This is What it Sounds Like”, “Love Hurts”, and “Carry The Weight”. Big Ko produced “Caked Up”, and made the Kool G Rap feature happen. Velotz produced “It’s My Turn”, and “After All I’ve Done for you”. Lunatic Mind produced the title track “Each Dawn I Die”. Last but not least, Sly Vest comes with the banger “Sister Morphine”.
W: It seems like people are more comfortable going with relatively
unknown producers more so than in the past, at least on the
underground level. Your album is a testament to that fact as well as
some of the “unknowns” can make just as nice beats as some of the
“well known” producers. Listening to tracks such as “This Is What It
Sounds Like”, I was amazed at some of the production. Was this
something you did intentionally? Meaning did you want to go with some
of the lesser knowns knowing this and how do you feel about it?
LV: Yes. It wasn’t the idea of using unknown producers though. I used my team. If my team consisted of well known producers, I still would have used them. All the unknowns on there are my boys for years, and all have become dope producers.
W: Another special guest you have is the legend Kool G Rap, how did that
come about and how was it working with him? I would think it would be
almost awe inspiring….
LV: Big KO made it happen. He sent me the beat with the scratches already on it. After I heard the beat in the whip, It needed to be done, and it needed G Rap on it. G rap is the Godfather of rap, hands down.
W: The album comes out on Orena Records, which is your own label,
correct? How is it being an artist and be running your own label?
LV: Ive had situations in the past where I wasn’t involved in any of the business, and got screwed. Thank god for my partner Michelle. She handles all my day to day shit as an artist, and for the label when I am held up in the Lab. Which is often.
W: If I recall right, you had your label going since at least 2005, when
you released “The Exorcist” on it, how did you come about owning and
running your own label?
LV: Once I had all the studio equipment I needed to release albums, it all kind of fell into place. Joey P and I kind of solidified Orena Records last year by making the studio more of a working environment than a place to practice your hobby.
W: Do you plan on releasing other artists?
W: A lot of people are complaining about the “drought” currently
occurring in the New York hip hop scene, what are your feelings about
that and how do you think you can change that.
LV: You cannot change it. You can only make sure that you don’t fall into the same bullshit trap. If your a new artist, don’t emulate anyone. It is good to take bits and peices from a technique point of view, but following what is hot on the radio is WACK. So if you do that, shoot yourself.
W: What is in the future for Little Vic?
LV: I have a project coming out with Critical Madness which is going to be dope. We already have half the album done. The Crew is called Hidden Agenda, so look out for that. My second project will be done before the summer is over, and will not disappoint. Look out for brolick production.
W: Any parting words?
LV: Stay Close to your Family, and God Bless.
W: Thanks, and best of luck!