“Way in my brain” contains samples and is a rave remake of a track called “Under mi sleng ting” by reggae dancehall artist Wayne Smith. “Under me sleng ting” was first released in 1985 as a 7″ single and is documented as being the first fully computerized riddim in Jamaican music. “Under mi sleng ting” also appears on Wayne Smiths 1986 album entitled “Sleng Ting” released on Greensleeves Records.

SL2 - WAY IN MY BRAIN (2008 REMIX) - WINX DIRT 12

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So to kick off the interview tell the readers when you started rapping and how you got involved in the local hip hop scene?

I got into the hip hop scene when I started 6th form at Buckingham school in 1993, Kraze One was in my form at the time and I think we started speaking due to a shared love of hip hop music. He knew a lot more about it then me, was into the British scene that I didn’t even know existed really, and had a massive record collection (still has). I knew about the American stuff but he turned me on to artists like Gunshot, Hijack and The Criminal Minds. We started making demos with one turntable and using break beats from Simon Harris’s break beats and scratches records and a dodgy mic from Curry’s!

What was the hip hop scene in Buckingham like in the early 90s?

There wasn’t much of a hip hop scene at the time. TCM (The Criminal Minds) had success with their first two EP’s in 1990 and 1991 but by the time we were coming up  they had changed direction and progressed in to making Rave/Hardcore music. Buckingham has a university and some of the students that went there at the time were in to hip hop but more the American stuff that was popular like Snoop Dogg and Dr Dre. There wasn’t much of an underground hip hop scene at the time, there were a few heads that listened to underground hip hop but no one else creating hip hop music.

How did the Justice Element Crew Form?

Kraze One had already done some choons with a crew called UCP (Under Cover Prophecy) but they had disbanded a year before when they left school. We started talking and that led to the first demos. Shortly after we included a DJ called Crime Plate who was also in 6th form at Buckingham secondary school. Crime Plate also played happy hardcore music under the name Desire and was also a part of the UCP crew so had a bit of a background in the local hip hop scene. The three of us started writing stuff together when we should have been at 6th form! We were about 16-17, it was a great time.

Justice Element Crew April 1994 – Buckingham University

Were there any other crews around your area at the time?

Not from what I remember, you have to understand that at the time hip hop was on it arse and music wasn’t as accessible as it is now, TCM were the pioneers for the Buckingham scene but had moved on. We continued where they left off.

Justice Element recorded a demo “Prologue of Buckingham’s Innovators” that was released independently in 1994 on cassette. Was there any budget behind the JE crew or was everything done independently?

Absolutely no budget at all. The album was mixed and mastered on a hi-fi using cassettes! Any money we recouped was spent on more cassettes, DJ Crime Plate designed the artwork, we photocopied covers at school and sold em out of a backpack on the street but that was enough to generate an interest in the crew!

Justice Element “The prologue of Buckingham’s innovators” Cassette LP released in 1994

Did Justice Element go on to record any other tracks after the cassette was released? and did anything else make it from the studio to the streets?

Well things started to get a bit more serious once we had left school, we were gigging a bit round the town, goin out tagging and stuff and we reconstructed a couple of tunes from the Justice Element tape at DJ Halo’s from The Criminal Minds studio. At DJ Halo’s we were able to sample and construct backing tracks where as everything previous has been recorded live from the two turntables straight to cassette. We then recorded our vocals on top of the backing tracks using a 4 track cassette tape. The quality was a lot better but still not quite good enough to release professionally. We recorded “Straight from the sector” and a reworked version of “Stage One” but that was never finished as DJ Crime Plate had left the group by this point. Shortly after we started using a studio in Buckingham called Audiolab, that was run by a great guy called Nigel Neil. We were working on a track called “break back” that was miles more advanced than the stuff we had been doing, there was also an early version of “Detonate the funk” that we started, but for one reason or another they were never finished, shame really as “Break back” was a cracker! Kraze One’s track “Straight from the sector” was re-recorded at Audiolab while I was away and the re-recorded version was included on DJ Halo’s Widow maker album in 1995. I was originally on the end of the track doing shout outs but as I was out of the area at the time and DJ Crime Plate had left the group it was put out under Kraze One’s name as a solo track.

Justice Element performed mainly around Buckingham but in 1994 the crew did manage to land a fairly high profile gig as part of a show put on specifically for the high commissioner of the Bahamas when he was visiting the UK. How did this situation come about?

We had done a couple of shows for a promoter called Natalie who was a student at Buckingham University. She was from the Bahamas and was part of the committee organising the event in honour of the high commissioners visit to the UK. There were loads of different acts on…… but we were the best…. ha ha ….happy days from what I remember. We were still with DJ Crime Plate at this point and we also had back up dancers and as a unit we managed to put on quite a good show. Natalie actually wanted us to record vocals on a track for her but at the time we turned it down as we thought the beats were too commercial and that was not what Justice Element was representing at the time.

Natalie from Visions Promotions and DJ Crime Plate Buckingham 1994

Why did the Justice Element crew split?

All good things come to an end I suppose, Kraze was working full time after leaving school but still keeping his hand in the music via several opportunities at Audiolab studio, I got a job in Scotland which involved me relocating and that was that really. I did do a solo track called “Knights of the post” when I was back in the area in 1995 but it was a transitional period for all of us.

IT wasn’t until 1998 when you reappeared on the track “True Elementalz” on the True Element CD EP along with DJ Maniphest. How did you get involved with True Element?

Me and Kraze kept in touch while I was moving around the country, he had kept going in my absence and started making his own beats with different vocalists, good stuff as well. He gave me a copy of “True Elementalz” track and I wrote a verse. Then we recorded it with DJ Maniphest at Audiolab studio, it became the title track of the 2nd True Element EP. There was some good tunes on it, one with a singer called Hysko and another with a rapper called Tony Mac. True Elementalz got played on Horizon Radio around the time it was released in 1998 which was a bit of a big thing for us as normally they just used to play chart music. The EP also received some great reviews in the local press and helped secure True Element as a serious crew on the local hip hop scene. There were not many crews around at the time and in those days a CD was a professional package. Most people still had demo tapes (Cassettes)

True Element “The True Elementalz EP CD” Released in 1998 on One on One Productionz

You were one of the more consistent rappers in the True Element projects appearing on the debut LP Unmanufacturable, The Road Less Travelled EP and The Road Less Travelled LP. In 2001 you joined the crew as a full time member and were involved in the live shows as well as recording vocals. How was your experience performing live with True Element?

Around 2000-2001 me and Kraze started sharing a house in Newport Pagnall on the outskirts of Milton Keynes. The album “Unmanufacturable” had been released at the start of the year and had created a bit of a local buzz around the group. I was on two of the tracks, “Lifetime mission” and “Triangular lirification” that also featured rapper Fa-Real as well as DJ Maniphest on the cuts. We played a festival at Campbell Park, Milton Keynes in August 2000 and I swear it was the coldest day ever! But things were picking up steam and we started playing further afield in Northampton and Leicester as well as doing some of the bigger events in MK like Music 4U. we were fairly open minded as a group and in 2001 we entered the Milton Keynes battle of the bands comp at the pitz. The organisers said that if they were judging on crowd response then we would have won but they felt that as we didn’t have any traditional instruments (except for Paul “Fresh strings” Fawcett who at the time was featured live on guitar on 2 trax) they could not give it us…… it felt like we were on the verge of something. I always enjoyed playing live with the guys, the dynamic had changed as we had “Fresh strings” on guitar and “Katherine Peck and others vocalists singing, as well as me, Kraze and Fa-Real rapping, we were good but we also had a great laugh. I was also involved in releasing and promoting the fourth True Element CD EP “The road less travelled”.

True Element “The Road Less Travelled EP” Released 2001 on True Element Records

True Element live at the Charlotte club in Leicester 2001

True Element gig review Milton Keynes Citizen 2001

In 2001 you co-ordinated and independently released your debut solo EP “Seconds Out”. The EP featured singer Kathryn Peck, Live guitar by Paul Fresh Srings, Cuts by DJ Maniphest, and production by Kraze One. What was the inspiration behind this solo project?

Kraze had produced two or three good tunes that were just lying around doing nothing so I had a mad couple of writing days and hey presto…. chuck in Fresh strings and Katherine peck, who worked out guitar parts and a melodic chorus respectively and “Seconds out” was born. It seemed like a natural thing to do, we recorded it at Audiolab and the result was magic, I gained a lot of confidence from it as a writer, must give a shout to my bro for the artwork though!

Killa Joul “Seconds out” EP -  Released 2001

How has the hip hop scene changed nowadays as oppose to the late 90s?

I suppose people would say it has progressed…. but it’s not the same for me. it’s easier to get your stuff heard online and anyone can record a good quality demo at home with all the software that’s on the market but…. good stuff is hard to find from a personal point of view and although acts like Tiny Tempa are on the radio it’s not really hip hop is it? That’s not to dis anyone it’s just not my cup of tea. Where’s the scratch DJ? it’s more electro if anything.

In 2003 True Element started a natural progression from the Boom Bap hip hop to more of a live sound. How different is it working with live musicians as opposed to a DJ and backing tracks?

It’s a lot more complicated and challenging but the rewards are massive.
you are not confined to a particular framework and lots of people’s ideas can take you places you might not normally go, songs can be more complex and freestyle and yet still have that raw element, chuck in a scratch DJ and the possibilities are endless, its good fun man!

True Element live at hip hop owes me money Milton Keynes 2011

In the mid noughties you learned to play guitar and sing. This lead to you recording 2 solo albums under the name “Kieran Jones” what was the inspiration for this transition in musical styles?

Well to be honest I had always listened to a lot of indie and folk music, I had some crappy stuff happen in my personal life and writing songs about that and relationships was kinda like therapy for me, I was also working at Audiolab studios in Buckingham and hanging out with some good players and writers who inspired me, I’m not the next Nick Drake or anything but I can pen and sing a choon!

Kieran Jones “Simple folk” CD LP – Released 2008

Kieran Jones “Lay like ghosts” CD LP – Released 2011

You have also compiled and released 2 compilation albums called “songs for Souls” as well as organising 2 charity events. What was the inspiration behind this?

Well I’d stopped playing live at this point and was looking for something to do! My sister in law was running a pub in Buckingham and trade was slow, so I decided to put on a night to swell the takings…. then decided to raise some money for cancer research at the same time. a friend of mine from the Audiolab days, Jamie Masters, allowed 6 of us to record an acoustic tune at his new studio ( Echo studios, check it out at http://www.echostudios.org.uk/ ) and my brother did some artwork and we pressed up 300 cds to sell on the night, three or four of us played a set and we charged a couple of quid on the door hey presto…. £1000 for Macmillan cancer research and £1000 in bar takings! I then did a bigger one a few months later at Buckingham town football club.

Songs for soul’s charity cd volume 1

Songs for soul’s charity cd volume 2

Recently you have returned to your roots and have been working on a new self produced hip hop EP called The Cure. The EP features performances by Fresh Strings, DJ Boothy, Mc Paranoia, Kraze One, Aniis Le Neve, and Lady Poet as well as yourself holing down the lead vocals. What inspired you to return to the hip hop music and record the new EP?

I kind of got stuck in a bit of a song writing rut, things dried up ideas wise and everything started to sound the same, id always been keeping my ear out for hip hop and was messing about making beats on my laptop, then I wrote a song that’s on the ep called “Karma” and things evolved from there. It’s quite an eclectic mix of tunes, mixing hip hop with folk; the songs have a more traditional structure, a bit of jazz etc… I realised I had a wealth of talent to call on to help out, from female singers to guitarists that played better than me plus the True Element boys. Me and Kraze One went back into the studio together this year for the 1st time in 8 years and recorded a couple of tunes that might see the light of day, Paranoia MC is also on them, they are good tunes! the more I did the more I wanted to do and I realised I missed making hip hop music, I had so much to say and can articulate it much better now I’m 34 and have done so much living in the last 8 years, the way I see it I’m better for the break and am loving being back on the mic!

Further information on Killa Joul & True Element can be found atthe below links:

http://www.reverbnation.com/kieranjones

http://www.facebook.com/#!/pages/True-Element/87929015091

Taking things right back to the beginning before you started rapping and producing records please tell the readers how and when you discovered hip hop music?

I really started to get into hip hop music from Africa Bambaataa and the soul Sonic force, back then hip hop was in the style of Electro and they were the ones that grabbed my attention to start even thinking of making music. At that time I was a young break dancer and DJ producer just being a big fan and follower of the movement. I was looking for a rapper to spit over my beats but there were very few Mc’s around so I picked up the mic and started creating rough demos at home.

Africa Bambaataa & The Soul Sonic Force “Planet Rock”

In 1987 you had a track released on the Music of life compilation “Hard as Hell – Raps next generation” How did the opportunity to record with Music of Life arise?

Once the passion to become a rapper overtook me I was relentless. I was doing demos at home but they were really rough because of the limited equipment that I had. I used to buy magazines to check for record labels, for events, or anyone who was looking for acts.  I came across an ad that said a recording studio in Liverpool had set up a record company and were looking for unsigned acts to develop. I gave them a call and sent them my demo. That was followed by an invitation to go up to Liverpool for three days to record some demos with the studio. I was mad excited as I had never been inside a professional studio before.  I produced and recorded 4 tracks over the 3 days but to cut a long story short nothing came of the Liverpool record company but they said I could use the demos for whatever I pleased. So I decided to re- send out my new demos again and Music of life was one of the labels I sent the new demos to. One exciting day they gave me a call and I couldn’t believe it!!! I had a meeting with them and they told me they likes one track in particular from my demo tape and that track was “Let There Be Rock’!!!!!

Overlord X “Let there be rock”

Had you recorded any demos previous to “Let there be rock”?

Yes by the time I had recorded “Let there be rock” I already had around 15 tracks that I had recorded at home.

The credits on the record say that the track was produced by Simon Harris – Did you have any input in to making the beats or was it something that was pre prepared for you to write to?

I had already produced the track as part of my new demos but Simon Harris wanted to re-do the track again but taking from my demo the key elements which made the track, such the samples. I was a young kid with a record deal so I didn’t even care.

What was it like working with producer Simon Harris and the Music of life team?

In the short time I was there It was great and a big privilege they where a small tight unit, very talented with their fingers on the pulse of what was happening on the streets. But I felt a bit like an outsider so my stay there didn’t last long.

Overlord X 1987 Music of Life

There was another rapper on “Let there be rock” which was X-Possee member Dark Heart who would later feature on the X-Possee album “project X”. Had the X-Possee formed before releasing the track in 1987? And if this was not the case then how did the X Possee form?

By The time I was on my 10th demo at home I started to get the attention of all my friends who were listening to my demos. Then slowly one by one they started to pick up the mic. As I was the only producer on the block they would all come over to me for beats. Dark Heart was lucky enough to be around working with me at the time “Music of life” approached me so I brought him in on the track. The buzz slowly started to spread about my ability to create beats and I was producing for 12- 15 rappers from round my way. Whenever we had the opportunity to perform at a local event we all went together and took turns in spitting 16 bars. Its only when I got my first deal with “Music of life” that we realized that this rap thing can be something big. So after I signed with “Music of life” we all agreed to come under my production wing as the X possee and that I would try and get them exposure with my production and influence and in return they would support me.

 Overlord X and The X Possee

“14 Days In May” was the second Overlord X release and originally came out on the Electro/Hip hop vol 20 compilation. Many B-boys and B-girls in the UK grew up listening to the electro series and at the time they were one of the most accessible ways to own hip hop music as they were widely distributed in the UK. How did the release with “14 Days In May” on Street Sounds come about?

After I left “Music of life” I was still on the grind getting myself out there at any opportunity, at that time Dave Pearce had a successful Hip Hop radio show called “Fresh start to the week” And on his show rap listeners had the chance to rap live. All you had to do was call in and rap 16 bars over the telephone and the best three rappers would get aired on the radio that day and the best of the three wins the chance to come in the following week to rap live on air. I entered and won and did my performance but then a couple of weeks later entered again using a different rap name and won again. When I arrived at the radio station the 2nd time  Dave Pearce caught on to my scheme and laughed but said you can only win once but allowed me to rap live again. After the live session Dave Pearce asked what I was doing in regards to my rap career and I told him that I was on a search of a deal having left music of life. He said he was involved with a new Streets-sounds hip hop album which was going to be 50% USA and 50% UK acts and would I like to record a demo for the Album. It so happened that a day or 2 later that I saw the TV documentary called ’14 days in May’ which moved me so much that I wrote a song and recorded that for the Street-sounds album.

Dave Pearce Hip Hop Documentary (Overlord X appears briefly at 3:37)

Shortly after Hip Hop 20 was released Hardcore Records which were a subsidiary of street sounds released “14 Days In May” as a 12” Single. The track was also produced by you. I noticed that by this point you were already using the technique of slowing down your voice for the overdubs that would later go on to be recognised as the character Lord V. How did you achieve this effect?

Now I’m a big believer in the most high God, I have always been since before Overlord X. And at certain times I would get ideas flying into my head and I would simply act on it. That was the key thing to my success even today in what I do. Though I was part of a huge collective of rappers I still was very much on my own a lot of the time going to the studio or making demos and Lord V which one day popped into my head, was kind of an alter ego that allowed me to feel that I was connected or somehow partnered up and protected by some sort of terminator character that thru thick and thin would always be there. I know it sounds mad but that’s what it was. The sound was created by a voice pitcher which controls the pitch of your voice thru me Lord V comes alive and it’s become its own thing. So much so that I have been recently asked to appear on a track which I declined but they asked if lord V could appear which I agreed, this is something due to come out soon with a few old skool heads featured.

“Lord V” from the back cover of the ”Weapon is my lyric” LP

Your production carries a signature Overlord X sound. What equipment/set up did you use to construct your beats and backing tracks?

At the beginning at home I had some basic studio equipment, I had a Boss DR-670 DR670 drum machine, 2 technics 1200 turntables a small mixer and a Casio SK 1 sampling keyboard  which I recorded onto a Sharp GF-555 ghetto blaster which I would use a as a multi track to overlay sounds and vocals onto tape cassette. That was it, but that allowed me to bring out my ideas every day. Later  when I was signed I mostly used the Akai 1000 sampler  along with the Roland 909 and the Korg M1 keyboard, those where my weapons of choice to create my sounds.

When did you start working with DJ Sir-Preme-Tee and how did you guys meet?

I started to work with DJ Sir Preme Tee from 14 days in May. As I said before the buzz started to get around and I was introduced to him by an existing X Possee member. He came over my place and I tested out his DJ  skills on my turntables and I was quite blown away by his  scratching skills. Up to that point I did all the scratching on my own beats as I didn’t know any other DJs on my block. So I was able to concentrate on just writing and producing once Sir Preme Tee  joined the X Possee.

Listening to some of the breaks you and other hip hop artists had sampled was what introduced me to Soul and Funk music. For example on your albums you sampled Isaac Hays, The Tom Tom Club, Sir Joe Quartermain, Curtis Mayfield, as well as some more obscure records like Pigbag and Ennio Morricone. A lot of hip hop producers in the late 80s went straight for the popular ultimate breaks and beats albums. Where did you source your samples from?

As I was a DJ before I was Overlord X I already had a record collection. My thing as a DJ was to mix abstract music with hip hop breaks during DJ sessions at my local youth club. Visiting my local record store which was called “Wired for sound” and spending 2-3 hours listening to records because I liked the record cover design allowed me to discover some pretty incredible music.

Following the success of “14 Days in May” you were signed along with the X-Possee to Mango Street Records where you released your debut LP “Weapon is my lyric” shortly followed by the collective X-Possee album “Project X”. Did you have 2 separate contracts for solo/group tracks with Mango Street? 

I was signed to deliver 2 albums with Island/Mango Street but also signed separate contracts every-time I did various projects with the label which included the X possee album.

Another Landmark record in early UK Hip Hop history was the BROTHER (Black Rhyme Organization To Help Equal Rights) Movement’s “Beyond the 16^th Paralel”. The record was made to raise awareness of the inequality of the South African Apartheid regime and all the proceeds went to Sickle Cell Anaemia Research. You featured on the record with most of the biggest UK hip hop artists at the time including Cookie Crew, The Demon Boyz, Hijack London Posse,  MC Mell’O', She Rockers, Standing Ovation, Etc. What was it like recording this project? Were you all in the studio on the same day? Or did you all record individual parts?

That was a powerful movement and a really good project to be part of. It’s mad to think now, that a country could be so racist against a race of people but that’s exactly how South Africa was the world started to show them that we didn’t approve and that was the UK hip hop scene doing its part. It was a really great thing to be a part of but at the same time very competitive as there were so many talented acts featuring on the record. You felt that you wanted to do well and stand up against the likes of Demon Boyz, Hijack, MC Mell’o’, Cookie Crew etc. We did our parts separate over a couple of days.

B.R.O.T.H.E.R Movement

B.R.O.T.H.E.R Movement “Beyond the 16th Parallel” 4th & Broadway Records 1989

I felt that hip hop in the late 80s and early 90s helped educate listeners on many social and political issues many of which are still relevant in society today. How important was it to you to be able to highlight and communicate these types of issues in your music?

Hey bro I’m still shouting about them things now. I think it was important for me. I grew up in what was considered the poorest borough in London, Hackney, and I saw and got involved with a lot of things which made me put a pen to a pad?  I saw the problems and how they started and the causes and the suppressions to keep people from coming out of their states so I felt the best way to bring it out was to rap about it.

Were you inspired by any other rappers, producers, or political figures during your career? If so who were the biggest influences?

Sure I was inspired. My biggest influences were by the Bomb squad, Mantronix, Public Enemy, and LL Cool J.

In 1990 a record called Ndodemnyama (Free South Africa) by Hip Hop artists against Apartheid was released. You are listed as one of the artists involved with the project alongside X-Clan, UTFO, Brand Nubian, Africa Bambaataa and several others. What was your involvement in the project?

I’m trying to remember exactly what I did but didn’t have anything to do with the track in regards to recording or producing.

You were one of the biggest non commercial rappers that the UK has produced and anyone who is anyone connected with the UK hip hop scene in the golden era has heard the name Overlord X. How well was your music promoted overseas in Europe and worldwide?

Thanks Bro, the achievement was a blessing I remember when my first album was 2 weeks into being released and the Record company top execs at Island Records where quite shocked at how well my LP was doing. So they pushed the momentum to continue it to Europe. France, Italy, Germany, Holland, Spain and it did very well there too. Even Iceland wanted a piece of it and when I went over there they told me I was the first rapper ever to perform there. The states  wasn’t  too bad but wasn’t great, 14 days in may sold 40’000 though it may sound a lot but it wasn’t, I really needed to go over there and promote which didn’t happen until later after I had left mango street. The rest of the world got my album, though there it was much more underground then Europe and the UK.

Overlord X “Weapon is my lyric” LP Mango Street Records 1988

Did you get the opportunity to perform outside of the UK?

Yes I toured Germany, Italy and France in small clubs and some big theatres along with local talent opening up for me.

Overlord X European tour, Germany 

What were some of the most memorable live shows?

My most Memorable live shows are as followed, in Germany at this packed venue (can’t remember the name of the venue) when I walked stage the crowd lost their minds!! ha ha and the noise was ridiculous. Brixton Fridge where I headlined a hip hop all dayer with the cream of the UK artist. Also I toured with Ice T around the southern parts of the UK, that was the shit!!!!. And at a small show I performed on stage in central London’s Cafe de Paris in which I was in a battle with MC Duke with Queen Latifah as Referee and peace maker lol.  Big up MC Duke we cool now.

What exactly happened at Mango Street and why did Island shut down the label?

As you may know mango was a reggae label within the structure of a major label called Island Records who at the time had U2, Bob Marley, Aswad, Mica Paris etc. When I was signed the label formed Mango Street to accommodate me as a hip hop artist but they also went on to sign other UK hip hop artists too. When I had delivered the 2 albums the company offered me a contract for another 3 albums which I declined in order to sign to Motown Records in the USA. So after I left I figured having been the biggest artist on the Mango Street my LP sales would keep them going. But as soon as I went (no disrespect to the artist who were still signed) but the label felt it didn’t make financial sense to keep the Mango Street label going as the remaining artists were not shifting the units.

Overlord X “X vs the world” LP Mango Street Records 1990

Thanks to you tube and the internet fans discovered that a 3^rd Overlord X album was in the process of being recorded. How much of the third album “Mind of a menace” was completed before the closure of Mango Street?

Ok… well the third album was never recorded with Mango Street I had already made the jump to Motown. Once I had signed I began to record. I was signed for 2 years and recorded a full album entitled “Mind of a menace” (MO-AM). To be real they didn’t get it, they didn’t get me, they didn’t get Lord V and we went round in circles. In the end we had to part ways and when I came back to the UK scene things had changed musically and I had no interest to continue Overlord X in this new scene which was jungle and drum & bass.

Overlord X Motown Records photo shoot

Ok so from a fans perspective its good to know that there is a full length Overlord X album from the golden era of hip hop still waiting to be discovered. Is it possible that the “Mind of a menace” album will ever get an official release? Or is this out of your hands and in the hands of Motown?

Yes there is a complete album which I finished with Motown titled Mind Of a Menace (MO-AM) I actually have all rights to the album as that what I requested as part of the agreement of leaving. At that time I had no intention of giving up the mic. It was only when I saw how much the scene had changed back in the UK that things changed and I decided not to continue any more. I have thought a few times of putting out the material but never had the moment of planning and time to do it as I became very busy working in another field. I have been constantly doing various interviews or jingles for on-line radio stations and I had put a few exclusive tracks together from the Mind Of A Menace album for them to drop. The Tracks are Beast Killer, Prototype and So Dam Deff which have gone down quite well. Will I be putting out the album any time soon? Well in the past I didn’t really have a reason to put out the album other than simply putting out for those that may want to hear it. But now I think I may have a reason. I’m directing, producing and featuring a series of short films on youtube in conjunction with my web site which will have my tracks as backing music. Depending on how well these movies do will depend on whether or not I will go ahead and release the album. But the series of short films will start soon and will even feature Lord V. I’m going deep with the visual FX.

Overlord X “Prototype” from the unreleased MO-AM album 

As the UK music scene continued to evolve Hip hop culture influenced several emerging music scenes including Rave, Jungle, Trip hop, Swing, and eventually R&B. In the mid 90s you formed a Soul/Swing trio called Benz and as a group you had several top 40 hits. What was the experience of working in Benz like as opposed to being a solo artist?

I took a break for while and still realised I had a love for music the same way I did before I was Overlord X. So I continued with producing beats. I was listening to old skool as well as this new form of Music which was hip hop mixed with RnB. The idea of Benz came about by chance when as I was working with a rapper/singer called Big Ben, he was generally this new wave of artist that were mixing hip hop with RNB but favoured more singing. At this time there was no UK rappers who were rapping over this music. I met another guy called Tony Benididct who was a singer and started to work with him too and it came about that I was the only one with the experience to put something together and get it to a label to be signed. Then again the idea popped into my head and I thought of joining forces with these guys. So I looked at the UK scene and looked what was missing there’s no Rapping. That spark from the most high in my head gave me the idea to say to the guys let’s do a group thing, call it Benz as we all have Ben in our name but let it be influenced by rap and hip hop beats rather than singing and hip hop beats. We signed to a major record company called RCA I was asked by the guys and the record company to keep my name Overlord X to create a buzz but I refused as this was not Overlord X music, so I created the alias Mr Shade (as in undercover). Being in a group was challenging as now I have to think of others when writing when producing and stage performance. But I did have a laugh with the guys and it was like a huge experiment that lasted 4 years and we made some money and I got some more experience to how the industry works on another level.

Benz “Urban City Girl” 1995 BMG Music Ltd

Over the years you kept your hand in producing for a wide variety of artists both signed and unsigned. Do you still draw inspiration from and use techniques originated in Hip Hop?

Always, that side to me will never die its always been there even on my video and photography clients I work with and on my Youtube I produce some of the background music which is heavily hop hop influenced even using the same breaks that I used on my first 2 albums.

Finally in recent years you have become recognised as a professional photographer. When did you become interested in photography?

The decision to getting into media was another thing that sparked into my head by the most high.  In 2006 I started as a film maker making short films and Music videos for a new generation of artist that were prepared to fund their own videos. I also did photography as a hobby and I began working a lot with beautiful models from the music videos I directed who always wanted their picture taken for their portfolios. The more I did the more I would get praises for my work and I slowly exiled in the profession and then started to get calls from big name brands such as Apple Bottom, Adidas, Baby Phat, Armani, Viper London, and I have had work in tabloid press and had bill board posters all around the world (even I don’t even know how I did it ha ha)

Overlord X Photo Shoot at the Armani Exchange London

My latest venture which I only started 4 weeks ago is my Media blog which I put together youtube videos. It will feature the new 2012 designed Lord V and will start off as a knowledge site for film makers and photographers but will morph into something quite interesting very soon. The link is www.bro.mo-am.com  All I can say is believe in your goals and pursue it and have faith and watch the ride coz there’s more to come peace.

Overlord X Pastry photo shoot with Peeks & LoLo

Break to the beat would like to thank Overlord X for providing such a detailed incite to his career. Further info on Overlord X and his projects can be found at the below links.

http://bro.mo-am.com/

http://www.facebook.com/#!/profile.php?id=100000034149155

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OVERLORD X 14 Days In May UK 12" VINYL 1988 NM BRITCORE HARDCORE HIP HOP CLASSIC

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Nicki Minaj “Your love” 2010 Cash Money Records

Annie Lennox‘s Single “No more I love you’s” was the first single to be released from her second studio album entitled “Medusa” that was released in 1995. “No more I love you’s” is a cover version of a track by the same name that was written by Joseph Hughes and David Freeman and was released in 1986 by their New Wave band The Lover Speaks.

Annie Lennox “No more I love you’s” 1995 Arista Records

The Lover Speaks version of “No more I love you’s” peaked at number 58 in the UK singles chart in 1986 and is taken from the debut and only album also entitled “The lover speaks”

 The Lover Speaks “No more I love you’s” A&M Records 1986

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Rizzle Kicks “When I was a youngster” 2011 Island Records

“Revolution Rock” by The Clash is one of the tracks from their third studio album entitled “London Calling“. “London Calling“ was released in late 1979 on CBS Records and sold approximately 2 million copies when it was initially released. The “London Calling” album was also ranked number 8 in rolling stone’s list of 500 greatest albums of all time compiled in 2003. ”Revolution Rock” was a cover version of a reggae song that was first performed by Danny Ray and the Revolutionaries also released in 1979.

The Clash “Revolution Rock” from the album London calling CBS Records 1979

The original version of “Revolution rock” by Danny Ray and the Revolutionaries was the B-side of their 12″ Single “Rasta man live up“ which in turn is a cover version of Bob Marley & The Wailers.

Danny Ray and the Revolutionaries “Revolution Rock” Black Jack Records 1979

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titolo-london callingartista-clash etichetta-columbian. dischi1data15 ottobre 1999supportocd audiogenerepop e rock internazionale—-braniascolta 30”1.london callingascolta2.brand new cadillacascolta3.jimmy jazzascolta4.hatefulascolta5.rudie can’t failasPunk’s death knell had already been called, but London Calling found The Clash fighting a heroic rear guard battle. Having shelved the no-frills heads-down thunder of The Clash and Give ‘Em Enough Rope, London Calling was an extravagant benchmar

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Ice Cube “It was a good day”

The Isley Brother track “Footsteps in the dark” is taken from their LP entitled “Go for your guns” which was released in 1977 on T-Neck Records. “Footsteps in the dark” was also included on the B-side to the 7″ single “Groove with you” that reached number 16 in the R&B singles chart the same year. ”Footsteps in the dark“ can be heard below and carries a somewhat classic soul vibe typical of the Isley Brothers during this stage of their musical career.

The Isley Brothers “Footsteps in the dark”

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In this article break to the beat explore the origins of the “Funky Drummer” break beat from its creation, to its rise in popularity in hip hop and popular music. If you are not familiar with the “funky drummer” break beat and extract can be heard in below window. The extract is taken from the “Funky drummer bonus beat reprise” on the James Brown album “In the jungle groove”.

James Brown “Funky drummer bonus beat reprise”

The song “Funky drummer” was recorded in 1969 and released in March 1970 on King Records as a double sided 7″ Single. The full length version of “Funky drummer” however was not released until 1986 on James Brown‘s “In the Jungle Groove” LP. The 7″ Single of Funky drummer” contains two extracts from full version of the recording that is 9 minutes 13 seconds in length. The full length version of the track would have been too long to cut on a 7” Record and releasing extracts of a long song was a popular method at the time especially with Funk music that would often be created on the fly by musicians jamming together. Record labels would take the best 3 and a half minute sections of the jam for 7” singles

James Brown “Funky drummer” 7″ single released on King Records in 1970

The musicians involved in composing and recording “Funky drummer” were as follows and at the time of its release it reached number 20 on the American R&B Chart and number 51 on the American pop chart.

• James Brown – vocals, organ
• Richard “Kush” Griffith – trumpet
• Joe Davis – trumpet
• Fred Wesley – trombone
• Maceo Parker- tenor saxophone
• Eldee Williams – tenor saxophone
• Jimmy Nolen – guitar
• Alphonso “Country” Kellum – guitar
• Charles Sherrell – bass
• Clyde Stubblefield – drums

The full length version of “Funky drummer” was finally released on the LP “In the jungle groove” that was compiled and released in 1986 with the aim of capitalising on James Browns popularity with the hip hop audience. The album also contained a bonus beat reprise of “Funky drummer“ that was edited by Danny Krivit and consists of various loops of different drum sections of the track alongside some of James Browns popular vocal ad-libs. The Full length version of “Funky drummer” can be heard below:

James Brown “Funky drummer” full length version

Also in 1986 Louis Flores released his slightly edited version of “Funky drummer” on the DJ friendly “Ultimate Breaks & Beats” compilation LP SBR 512 on Street Beat Records. The Louis Flores version also extended out the drum break for use by hip hop DJ’s so they could loop up the break easier using 2 turntables and a mixer. The “Ultimate Breaks & Beats” series are considered by some to be the building blocks for classic hip hop as they were widely available and contained most of the break beats popularised in the late 70′s / early 80s by DJs like Kool Herc, Africa Bambatta, and Grandmaster Flash. As sampling technology became available it was the first place many hip hop artists looked to for samples in order to construct backing tracks.

Ultimate Breaks & Beats vol 12 – Street Beat Records 1986

I believe that there were 3 main reasons for “Funky drummer” becoming one of the most popular drum breaks sampled in hip hop in the late 80′s Early 90s. The first reason being that it is an exceptional drum break by one of the worlds most popular Soul & Funk artist James Brown.

The second reason is that in 1986 three versions of “Funky drummer” were released and marketed towards DJs that were playing/creating hip hop music part of which involved manipulating drum breaks from existing records. Two versions of “Funky drummer” were available on the “In the jungle groove” album, one of which was a bonus beat reprise perfect for being looped using the back to back method of DJing with two copies of the same record. This was also the case with the version of “Funky drummer” edited by Louis Flores from the “Ultimate Breaks & Beats” series.

The 3rd reason for “Funky drummer’s” rise in popularity I believe is because at the time of it’s re-issue in 1986 samplers had just become widely available and had enough memory to loop a break beat. The track it’s self is not an up-tempo dance track and I believe that funky drummer would not have been played at the block party’s in the same way as tracks like “Apache” by the Incredible Bongo Band. For this reason it was possible that many hip hoppers had not heard this particular break until the re-issue’s were released. This coupled with the “In the jungle groove” album containing several of James Brown‘s up-tempo dance tracks like “Give it up or turn it loose” and “Soul Power” the break fell straight in to the hands of DJ’s who may have purchased it to play the other numbers. The point is in 1986 when “Funky drummer” was re-released it may not have been a popular record with DJ’s to play and manipulate live but with the addition of a sampler this break could be manipulated in an entirely new way and rather that sample a break beat like the “Apache” that was well known the “Funky drummer” was fresh to the hip hop ear.

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Two of the first artists to sample the “Funky drummer” were Sweet Tee & DJ Jazzy Joyce on their track entitled “It’s my beat“. “It’s my beat” was released in 1986 on Profile Records and was produced by Herbie Love Bug who also produced for rappers Salt N Pepa. Note that this record was released the same year as the Ultimate breaks & Beats compilation and the James Brown “In the jungle groove” album containing the bonus beat reprise of “Funky drummer“.

Sweet Tee “It’s my Beat” 1986 Profile Records

From 1987 to1990 the “Funky drummer” had well and truly left its mark on hip hop music which in turn had begun to totally change the way records were produced. Below is a selection of some of my personal favourite hip hop tracks that sampled the “Funky drummer” break beat.

Public Enemy “Rebel without a pause” Def Jam Records 1988

Big Daddy Kane “Mortal kombat” Cold Chillin Records 1989

Above The Law “What cha can prove” Ruthless Records 1990

LL Cool J “Mama said knock you out” Def Jam Records 1990

Paris “I Call him Mad” Tommy Boy Records 1990

Son Of Noise “Dedication to Dennis” Kold Sweat Records 1992

By 1990 The “Funky drummer” break beat had become so popular that it had started to appear on records outside of the hip hop scene. Sampling was becoming more popular and had started to become part of making all types of music. Hip hop and Dance music had received a lot of criticism from radio DJ’s, journalists and artists outside of those music scenes in the 1980s and some people were implying that because of the techniques used to create hip hop that it was not proper music. Attitudes in the mainstream changed in the 1990s when both Pop and Rock musicians started using some of the same techniques. Artist from George Michael, to Kenny G, to Duran Duran, to Prince all utilised the “Funky drummer” break in there recordings.

Some examples of non Hip hop records that used the “Funky drummer” break beat are below:

Kenny G “G-bop” Arista Records 1992

Candy Flip “Strawberry fields forever” Debut Records 1989

Sinead O’Connor “I am stretched on your grave” Ensign Records 1989

Popular music’s love for the “Funky drummer” break did not go unnoticed in Hip hop. In the early 90s the break beat had become so popular that creators of hip hop music were finding it un-original. What didn’t help the situation is that major label artists were getting paid far more than any hip hop artists that pioneered the art form. In the early 90s hip hop producers like DJ Premiere and Pete Rock were pioneering a new method of sampling know as “digging in the crates” where DJs and producers would seek out and manipulate samples from obscure records that rival DJs may not have in their collection.

“Last year the funky drummer was a remedy for sell outs to earn – now the apache break awaits its turn – The so called black music reps don’t know shit about the ghetto – but control airplay and radio” – Son of Noise “Milk in the chocolate”.

Son of Noise “Milk in the chocolate” Kold Sweat Records 1991

Hip hop artists Subsonic 2‘s track “Unsung heroes of hip hop” perfectly describes the rise in popularity of the “Funky drummer” break beat. “Unsung heroes of hip hop” highlights the fact that so many people were sampling the drum break yet most were unaware of who the drummer was. The MC give’s reference to “Ultimate breaks & beats” and also describes the “Funky drummer” as being the basis of many pop records in the early 1990′s.

Subsonic 2 “Unsung heroes of hip hop” Columbia Records 1991

Fortunately the back lash did not last and eventually drummer Clide Stubberfield along with many other members of the James Brown Band are now internationally recognised for their contributions to modern music. Through the years the “Funky drummer” break beat has remained one of the most prominent samples in hip hop and pop music.

Below Hip hop producer Marly Marl interviews Clide Stubberfield about the creation of the “Funky drummer” beat

Since sampling technology has allowed us to sample and manipulate pieces of music the ”Funky drummer” break beat has always remained a prominent drum break in popular music culture. In 2010 artist Katy B landed a top 10 hit in the UK with her track entitled “Broken record” The ”Funky drummer” drum break can be heard throughout the track.

Katy B “Broken Record” Sony Music Ent 2011

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The “Funky drummer” also recently made an appearance on international rap superstar Nikki Minaj‘s album “Pink Friday” on the track entitled “Save me“. The album was released in 2010 and has sold over 1.7 Million copies.

Nikki Minaj “Save me” Cash Money Records 2010

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Last year In 2011 and 25 years after its full length version was reissued the “Funky drummer” break beat was sampled yet again in a chart topping single entitled “Heaven” written by soul singer/songwriter Emeli Sande. Febuary 2012 Emeli Sande won the critics’ choice Brit award for her debut album “Our version of events“. The “Funky drummer” break beat is a massive part of the biggest single from the album and can be heard throughout the track.

Emeli Sande “Heaven” Virgin Records 2011

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At the present time it would appear that every generation has been touched in some way by Clide Stubberfield‘s drum solo from 1969. To conclude the second article in the classic breaks series music today would definitely sound a lot different if the “Funky Drummer” break beat had not been created. Hip hop music has also played a big part in popularising the break beat as well as breaking down many musical barriers that existed in the 80′s and 90′s with regards to sampling and also with music as an art form. I’m sure we will be hearing the familiar pattern of the “Funky drummer” many more times in all styles of music in future years.

The below website contains a list of artists that have sampled the “Funky drummer” break beat since its creation.

http://www.whosampled.com/sample/view/96231/Katy%20B-Broken%20Record_James%20Brown-Funky%20Drummer/

Please also check out the Classic Breaks article part 1 on the “Amen Break” by clicking here

DJ Rob Swift’s Beat juggle tutorial using “Funky drummer”

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