Freddie Gibbs‘ journey to where he sits now in the music industry is incredibly telling.  Hailing from Gary, Indiana, the rapper comes from an area that is among the most notorious in the nation for it’s levels of impoverishment, violence, and crime.  Not surprisingly, his lyrical content is often fueled by tales of pimping, crack dealing, and murder.  Such subject matter clearly isn’t revolutionary for the rap game, but his level of sincerity and his approach to how he delivers it is something that has become increasingly rare.  Folded into “Gangsta” Gibbs‘ tales of street life are various reflections about topics as intimate as the death of his grandmother to the miscarriage of his child.  It’s this directness that really makes the listener feel like they can trust what is being relayed in the tracks.  Whether that means that you believe that he’s experienced what he’s detailing or simply believe that he Freddie will honestly kill your ass if you cross him, there’s an authenticity to his words, as well as with his delivery.  There’s an ability to verbally paint landscapes in a very matter of fact style that neither glamorizes or rejects the environments created.  It’s a quality that greats like Tupac used to possess; a feeling that the artist has become a rapper only because they have something to get out and needed a forum, not that they are simply trying to come up with something to say, because they were infatuated with the idea of becoming a rapper.  And the rising rap star definitely has plenty to say, as evidenced by the endless material that seems to pour out of him (including one full 81-track mixtape).  With one mixtape after the other, Gibbs has stayed true to his motto of “Str8 killa No filla“, by continuously maintaining a high level of quality throughout the ridiculously prolific amount of material that he’s released in such a short time.  Making most of his work available for free download, Gibbs appears to be in no danger of running out of new material , displaying more than a minor amount of confidence about his staying power or his willingness to continuously move forward.  Now, with his latest 16-track (17 w/bonus song) mix-tap, Cold Day in Hell, Freddie doesn’t miss a beat, providing another stack of grimy cinematic, gangster rap joints, absolutely free of charge.

Kicked out of Ball State (losing his football scholarship)  and, subsequently, being discharged from the military, Freddie was already quite familiar with rejection and disappointment by the time that he was dropped from his Interscope records deal.  Unfortunately, skill doesn’t account for much in the music industry and this is especially true with rap and hip-hop.  If anything, it’s considered secondary to the ability to mold and market an artist.  Gangsta Gibbs was a less than ideal candidate for such superstar grooming and, even after being released from his contract, he never bothered to conform or redirect his path into a more consumer friendly direction.  Being disillusioned with the current state of the rap industry -as many of us are- the Gary native took his cues from influences like Getto Boys, UGK,  and Three 6 Mafia, while calling out those who he believes are building their careers off of fabricated imagery.  This is one of the most, if not the most, refreshing aspects about Freddie Gibbs‘ approach to the industry; he cares enough about it to be disgusted by what it’s became and to openly voice his opinion regarding those who he believe are plaguing it.  For those of us who have wanted so badly to have a voice loud enough to express our own distaste for such topics as the directions that the industry has migrated into (some of us may have event started websites to fill that need), it’s nice to see Freddie Gibbs calling everyone out to their faces.  COLD DAY HELL contains plenty more in the way of that sort of confrontational content.

One of the rapper’s primary marks has been Rick “The Boss” Ross (aka: William Leonard Roberts II), a confirmed (and previously denied) former-corrections officer who’s career is based around and rests primarily on his persona as a drug dealing kingpin.  Recently signed to Young Jeezy‘s CTE imprint, Gangsta Gibbs continues to take shots at Ross‘ Maybach Music Group on COLD DAY IN HELL tracks like “187 Proof” with such lines as:

“187 ways to die, bitch, this the end,
6 niggas put 600 holes in yo 600 Benz“

and

“Ask Pill who the real, bet he mention (Gibbs),“

The second reference is obviously to MMG artist PILL, but the first one is directed at a track by WALE called “600 Benz“, which features label head, Rick Ross.  Over the years, WALE was really beginning to build a name for himself as a quality lyricist with well-received mix-tapes and tracks like “Rhyme of the Century” but, since signing with MMG, he has pulled somewhat of a 180, adopting an image where he raps about money, cars, and other ridiculous surface level bullshit.  It seems like the pattern is for rappers to get signed for their street cred and get paired with a club beat that overshadows the fact that they don’t really have any level of talent, whatsoever.  If they do have a sufficient amount of lyrical ability, the other option is for them to accept a high profile deal in exchange for adopting a new persona, which provides them with hype and material goods, in exchange for them abandoning any and all credibility.

For me “187 Proof” is a good example of what Freddie Gibbs brings to the table for a few reasons.  First of all, the song shares it’s title with a Spice 1 track and gives props to the music of Brotha Lynch.  Neither of those artists are likely to ever be referenced on a mainsteram rap track.  The lines, “2Pac ain’t back cuz he got set up and shot in the chest, Biggie ain’t either, so wont y’all gon let them niggas rest?” is a reminder that people really are still holding on to their images/memories as artists and, while still showing his affection for their work, Gibbs is instructing everyone to move on.  The reason that anyone is still clinging to those artists and their work so desperately, in the first place, is because there’s very little music of that caliber to cling to today.  I believe that Freddie Gibbs has hopes of returning that missing element to rap.  Most of all, nobody else seems to have the balls to call everyone out like Gibbs manages to and, if they do, they definitely don’t have the ability to back it up.  The title of the “187 Proof” itself is a solid play on words, for somebody that’s murder proof, whether it’s literal or simply from a lyrical standpoint.  I can believe in this dude, because I actually believes in what he’s saying.  If Freddie Gibbs represents anything to me, it’s about coming at shit hard without compromise and calling people out for weakening the idea of something that he believes in: rap as a legitimate artform.

“Cuz I’m 187 proof, streets or the fucking booth,
I speak a foreign language, I think y’all call that the truth,“

Last year’s track, “Oil Money” showed Gibbs working with one of his major influences, Bun B of UGK.  Cold Day In Hell provides another such opportunity, this time with a collaboration with Three 6 Mafia‘s Juicy J on the song “Str8 Slammin’“.  Even the opening number, “Barely M.A.D.E. It” begins with a nod to the Geto Boys classic, “Mind’s Playin’ Tricks on Me“.  Other appearances are made by a list of rappers including Young Jeezy, Freeway, and Dom Kennedy, with production work provided by such talents as J.U.S.T.I.C.E. League, Big K.R.I.T., Cardo, DJ Burn One, Block Beattaz, Beatnick & K-Salaam, etc.  Cold Day in Hell is just another opportunity for the adventurous Freddie Gibbs to continue testing the waters and, beyond this project, he continues to go in any number of directions, experimenting with an endless number of collaborators, including producer’s like Hi-Tek.  Whether you’re a fan of a particular hook or beat, or it’s not your bag, the 29 year old‘s lyrical abilities are difficult to refute.  I get the feeling that he’s one of those guys that could flow over just about anything that’s put in front of him.  Free mixtapes like this one are a great first opportunity to get acquainted with the artist and get a feel for what he’s all about.

Here’s the first video off the mixtape:
“Anything to Survive (Feat. Freeway)” with production by Beatnick & K-Salaam

Click here to view the embedded video.

Presented in collaboration with LRG clothing, the following information regarding Cold Day In Hell comes directly from the press release.

“Los Angeles clothing/media purveyor LRG has partnered with Gibbs for the release, making manifest Freddie’s creative vision in the album art and pending videos. The album cover features a disheveled marquee, a nod to Gary, Indiana’s tragic landmark, the Palace Theater as well as numerous crack-boom and blacksploitation archetypes brought to life by prolific LA graffiti writer and MSK affiliate, Augor. Similarly, the concept for the first video, the grimy “Anything To Survive”, is envisioned by LRG in-house production team Wood Works and Derrick Pike. Unwilling to merely just stamp a logo on the mixtape and call it finished, LRG is assisting in a non-traditional sense, helping to oversee the project by rounding out Freddie’s vision with their resources. The proof is in the product.“

In a recent interview with Source.com, Gibbs, had the following to say about his focus with the release:

“Just diggin’ into these mother fuckers chests, that’s all we doing.  Y’know what I mean?  I told mother fuckers we was gonna hurt some feelings with the Cold Day shit, so that’s what we plan on doing.  That’s the main objective.“

As far as people who continue to listen to shit that he considers whack, the rapper also offers the following advice:

“Quit bumpin’ that bullshit man…. God damn it man.  You know mother fuckers is tired of getting in your car and hearing that bullshit.“

To get Cold Day in Hell for free…

CLICK HERE TO DOWNLOAD

Or simply listen to it in full right now

TOUR DATES:

make sure to catch Freddie a the following dates

Out of Los Angeles California, Oakland transplant, Cory Scoffern (AKA The Grouch), is continuing to make a mark in the West Coast rap scene as a prominent figure who has helped to pioneer and spotlight what was once considered an underground movement. The rapper/producer/beatsmith made his dent with the infamous, 8-strong Living Legends crew and with such projects as G&E, Mystic Journeymen, and CMA.  In 2008, The Grouch has already released two albums; “The Gathering“, with the Legends crew, and his first solo album in 5 years, “Show You the World“.  Since the release of his last solo effort, 2003′s “Crusader for Justice“, Scoffern has released “No More Greener Grasses” (G&E), Classic (Living Legends), Sound Advice (w/ Daddy Kev), All Over (CMA), and “Heroes in the City of Dope” (with Zion-I) as well as experienced the birth of his first child.  After promoting Show You the World earlier this year with a tour and between a handful of G&E shows which will take him to Victoria and South Wales, before embarking on a full on West Coast run with the Legends, he definitely has a lot on his plate.  Somehow, in the midst of all of this, the lyricist took time out of his schedule and was accomodating enough to answer some questions for us at MonsterFresh.com.

MonsterFresh: From what I understand, you had been making beats for a while before you started performing vocally.  Were you making beats for anyone else pre-Mystic Journeyman.

The Grouch: Not really just messing around learning.

I’ve read that you originally started writing lyrics after being encouraged by a friend of yours and have heard you refer briefly to your beginnings as a rapper.  I was hoping that you could elaborate about what that experience was like for you spitting on stage for the first time and what inspired you to continue in that direction.

I was awful, had literally never thought about riding a beat before. When I went to write my first rap I didn’t know how. I had a pen and a paper bag and I was stuck on the first line forever. I had a good creative writing teacher in the sixth grade. She had this catch phrase that went “show not tell” meaning be descriptive enough for people to see what you’re writing. I still think about that and know that it helps me write. As far as performing, my first show was in East Oakland by the Coliseum. I hadn’t come up with a rap name so I just used my real name. I was just like, “I’m Corey Scoffern and heres me and my music.” People felt the humble approach, it was real and I ran with it.

What was it like growing up in Oakland and trying to establish yourself in the rap scene as a white MC?

Back then it was odd to see a white guy who even liked rap. White people used to make fun of me for listening to it (how the world has changed!) I was somewhat of a spectacle. The audience in Oakland was 95% black at the time (even for the underground). Needless to say, a lot of folks were skeptical. I performed at the Black Repertory Theatre once in Berkeley and people were throwing shit before I could even open my mouth. Mystik Journeymen had to cosign for me long enough for them to hear me out. When they finally did I had won a lot of people over.

As a father, I know that everything changes the minute that you first look into your child’s eyes. Since you have a daughter now, are there any insights that you have had and could share with us as a father and a songwriter?

Having a daughter is my crowning achievement. Nothing else matters as much or is as rewarding as watching her grow. If you don’t have a child yet use your free time wisely. If you do, make sure to stay in their lives.

You seem to always have your hands full with a variety of projects.  How much of a challenge has it been for you to balance your work and your home life?

It is a challenge but definitely worth it. Having a family is the new “I’m a player“. Haven’t you heard? No really, to make it work you have to prioritize what’s most important to you and work on that. I bring my family with me on tour/vacation. I record songs with my daughter making noise in the background. I put my daughter on the front of my album cover. I steal some of my wifes ideas and make raps out of ‘em. I’ve made it so work and home life can overlap in certain areas.

Right now alone you are busy promoting both this new solo album and the new Legends album.  Were there conscious directions that you and the guys went into these projects with from the beginning?

It took me about three or four years to put my album together. I don’t really conceptualize whole solo albums before I start them. I’m just kind of living life and making what comes natural at the time. The Legends project was made in a couple of weeks. We talked about some ideas we wanted to get across but mostly song for song. We knew we wanted to have some fun, less serious songs on there but also an anti war song for sure.

Exactly what IS the creative process for you like?  How and if do you approach each of your projects differently?  Do you have a surplus of beats in the wings until you find the right project for them?

I definitely don’t have a surplus of beats waiting around. That’s Eligh. I don’t make beats that often.  When I do make one I like, I usually can’t help but to start writing to it right then. When I’m making my albums I think about pieces that I already have and what kind of bases they cover. “Is what I have dark, melancholy, slow? Well then, I need something faster and more aggressive to balance out the project.”  Stuff like that.  When we were making the legends project I had the beat to “After Hours” in my computer for years. I liked it but never came up with anything to it. They breathed new life into it.  I made the beat to “She Wants Me” in the studio on the spot because I felt we needed a sound like that.

You get asked a lot about who your influences are in the rap game but to be a producer and avoid the pitfalls of making static repetitive music as you have, you must have a wider knowledge of music than that.  What I’m curious about is your musical influences beyond what we might expect.

I listen to everything. My Ipod is stocked with every genre of music. You have to have a well rounded ear for music an an open mind. That’s how I feel. i can see the beauty in all genres. I think people in general are becoming more open to different sounds these days. We listen to a lot of Fela at my house. My wife plays a gang of latin music (Ruben Blades). Roy Ayers, Nina Simone, The Police, The Beatles, Raphael Saadiq, Badu, Warrior King… those are some of my favorites. Of course I really like the Santogold album.

How did you wind up hooking up with Raphael Saadiq?

A friend/assistant of mine, Brick ran into him in LA once and told him that he worked for me and that I was a big fan. Raphael was like really, “I just bought his album from Amoeba!“. That pretty much made my career right there. They exchanged info, I called and the next week we were in the studio. Hopefully there will be more to come!

The Alpha Pup website is selling and promoting your new album “Show You The World” and I know that you and the Legends have done quite a bit of work with Daddy Kev over the years.  How deep exactly are your ties to Daddy Kev?  Do you see yourself doing any more projects with him or anyone else on the Alpha Pup label?

Daddy Kev is a very good personal friend of mine. We’re friends before business associates. I’d like to be more involved with his movement but our schedules don’t always allow for the overlap. We’ve definitely discussed a follow up to our first project, “Sound Advice“. There are more than a few guys in Kev’s circle that I’d like to and probably will do more work with. Flying Lotus, Edit, Gaslamp, Daedelus, Busdriver… the list goes on. They’re all good people!

What you know about that new CMA?  Anything in the works?

Not as of now.

How about future collaborations with Zion I?

Most Definitely. Plan on it!

As the story goes, you got your name from an argument that you had with Sunspot (Jonz).  Do you still remember what the argument was even about and did you ever use or kick around any other stage name ideas before you settled on the Grouch?

Me and Sunspot butt heads so much I could never attempt to go back and narrow it down to a specific argument. Before The Grouch I was just a regular dude, Corey Scoffern. That was my rap name.

The legends have had a pretty tight affiliation with LRG and Reebok even put out a limited series of Living Legend shoes.  Any talks of Reebok putting out Living Legends basketball pumps?  Any other projects or aspiration outside of the music scene for you that we should look out for?

The Reebok thing happened because my homie Brick (a fan at the time) worked at the LA store and hooked it up. Theres talk of maybe running off a few more pairs but probably no new Reebok shoes for the Legends at this point. Tennis Shoe culture is way played out to me. I’ll probably get bombarded with hate mail for that but really, I’m over it. I’m working on some other things but I’m not one to talk too much until things are solid.

Thanks for your time, it’s appreciated.  Continued success with your music and family.

Peace and Thanks.

-Capt. O.G.

(All photography provided by Arian Stevens/Greenwood Images)
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