BALD IN THE UZA
by June Joseph
Three’s a company for Onyx, as they emerge from the USG with album number two. But the comic book heroes haven’t been idle since they went down a riot. Bacdafucup and prepare for what they got.

               It’s a hot and incredibly dry day in mid-June and Onyx are on a roof chucking stones at pigeons. Sticky Fingaz has already tried to push me out of a doorway with a six foot drop beneath. He catches me before I fall and cackles wildly. Onyx slam each other on the roof for the sake of pictures, they’re all still sporting their trademark baldies and dressed in regulation ‘grimee’ black. Neva takes charge in organizing the group. “Come on niggaz, let’s get these fucking pictures done man. Come on niggaz,” ehe says, his face scrunched up like a ball. “I got fucking things to do…”
The guys get serious and organize. As always from day one, they’re the model of professionalism, while still managing to represent, maintain and fulfill all those other hip-hop prerequisites. Back in the office the president of their company is talking to Neva, telling him of Slick Rick’s continuing woes as Neva implores Rick to strive to stay out of prison because “that shit ain’t glamorous”. Neva assures him that he “don’t play that!”.
Onyx are now a trio. Rapper Big DS has departed but Neva (formerly Fredro Starr), Sticky Fingaz and Sonee Seeza (formerly Suave) say they’re all still acquainted with the errant rapper. They are reluctant to get into details of the split and eager to stress it wasn’t acrimonious.
“He just went AWOL,” Neva sounding slightly irritated. “Check the dictionary, you know what that means. He broke the fuck out! He left to pursue another avenue, whatever that may be…”. He couldn’t handle what we were doing,” adds Sonee. “Put it this way, we’re only as strong as our weakest link, we ain’t trying to be weak, bottom line,” hollers Sticky Fingaz, the only member with his original name intact. “We still peeps, we still got a little friendship, but as far as business – the Afficial Nastee, Armee Records, Onyx, it’s only a three man thing. We share the same mics, not the same mother…”
“That’s life, people just go AWOL, you don’t choose to go AWOL, you just do it,” Neva continues. “Okay, so let’s move onto another subject.”

                After a feeding frenzy at Matty’s Café just around the corner of West 25th street and 10th avenue where, over burgers and fries, the waitress with grey teeth tells us she’s got a sport bra under her shirt and would love to show us, we bundle into a Def Jam hired jeep. We’re going to Def Jam records downtown, so Neva can listen to a new track Onyx have produced, then into Queens to shoot more pictures, then to Harlem to score weed. However, we’re running a little late, so we head straight for Queens, the weed will come later. Onyx chit-chat amongst themselves as we stop at a gas station for petrol and Snapple ice teas.
“I think my rap on ‘Slam’ was really grimee,” opines Sticky Fingaz. “I think I was best on that. On this new joint I think my raps on ‘Last Dayz’ are really grimee.” Neva and Sonee agree, but Sonee doesn’t think ‘Last Dayz’ is an extremely grimee cut. “Evil Streets” is grimier I think”, he offers and they debate that issue until Snapples arrive five minutes later.
“People think that because of our long leave of absence that we just fell off the earth, but we’ve been really doing bigger and better things,” says Neva, draining his Snapple. “We’ve got a group called All City coming out right after ours so we had to make two albums at once, we did about three movies in that time. We know that rap opened doors for us and as for movies, television and record labels and productions and shit like that. We take it all on because we’re hustlers…. We’re just taking this music thing to hustle. It ain’t like we niggaz is rich, we struggling. We getting ours, that’s all.”
It’s been just over two years since the massive selling ‘Bacdafucup’ was released and, in the interim, when the grimee boys haven’t been touring, causing riots, disrespecting royalty and, in their own words, buggin’, they been getting to grips with the intricacies of the music business. They’ve set up their own record label, Armee Records, that has an ever increasing roster of artists. They’ve also been producing, not only their own material, but that of their own artists. They’ve also made their acting debuts on both TV and on the big screen. Their private army, the Afficial Nastee Niguz, has expanded, populated mostly by their protégés and “peeps that were down from day one”. With all the changes and the personal growth, can the grime boys still cut it after over two years off the scene? From their fresh attitudes, outlook and the conviction they show towards their raps they certainly think so. And while the face of hip-hop has changed in their absence, their mission is to clean up a second time with ‘All We Got Iz Us’, part two of the Onyx story.
“The reason it took us so long was because your man Fredro just did a film that drops in September called Sunset Park. Me and Fredro just did a movie called Clockers and we did some New York Undercover shit (a hip-hop flavored cop show) and we got the Armee Records deal being distributed by various companies including Mercury,” explains the voluble Fingaz, as we race westward across town and through Manhattan’s Hell’s Kitchen district towards the 59th street bridge. “The first group that’s dropping is All City, they consist of two heads, Greg Valentine and J Mega. Their album is dropping almost simultaneously with ours. It’s not like we’re coming back empty handed.”
“We also did a little collaboration with Marvel artists and got a comic coming out.” Adds Sonee, searching for some weed. “It’s called Onyx – Fight!. The whole idea was based on ideas by Onyx.”
And taking further control of their own destinies Onyx, the trio, coproduced their new LP, ‘All We Got Iz Us’, with their mentor Jam Master Jay guiding them along. As Neva explains, the new incarnation of Onyx involved a lot of research and a determination to top their last effort by a long shot.
“We coproduced the whole album as well as other shit. We had the SL12s rocking and shit! We been definitely researching and shit. It takes time to really learn the beats and programming, but it takes time to get our shit tight. We definitely took time to study. We decided to put ourselves in tight instead of coming out half-assed with some bullshit, where we knew we could do better. Even if we came back with some half-assed shit quickly, muthafuckers would still have bought it. I’m not going to talk about niggaz, but there are niggaz putting out bullshit as far as tight production and reality. Niggaz is throwing out anything and you can hear it.
“We definitely got beats. I listen to the last album and this one and there’s a big difference. We’ve grown and been through a lot. The styles are different, the beats are more intricate, we’ve been more in the books and reading and researching our shit. You know what I’m saying, you got to research this shit for more substance.”
Sticky agrees. “The reason why that shit is selling, is if a mothafucker is hungry and you throw him a cracker, he’ll think it’s the best shit ever. He’ll roll over one day and realize he’s just eating regular crackers.”
“What we’re offering is the meal, no crackers, it’s the meal,” Sonee chuckles. “We definitely bringing the meal, no salt and pepper for these brothers, it’s the meal! We got variation of flavors… With ‘Bacdafucup’ we weren’t too much in the business side, more the music and creative side, not production, not doing beats. This time around all that took place. Any samples or anything taking place, we were doing it. Now we’re into the business more, plus we educated ourselves more so we can give you rhymes with more substance.”
“We came up and grew up from the first album,” Sticky declares, puffing on a fresh doobie. “We know more things, we know more about the world, we read more books. We learnt more about the business, that’s why we’ve come up stronger.”
“I want muthafuckers to listen to ‘Purse Snatchaz’,” Neva takes up. “I want them muthafuckers to listen and really get up into that shit. You got some rappers that make you happy, you got some rappers that make you dance, you got some rappers that do a lot of things to you, but Onyx is bringing out your emotions and punching them in the muthafucking mouth. Punch the niggaz right in their shit. We’re definitely enforcing that USG shit. United States Ghetto.”
“Yeah! We make you want to fight!” Sticky says slyly.

A fight is just what they have on their hands. In a strange case of déjà vu, the moral majority and political right have started yet another full scale war on rap, mirroring the events of over two years ago. And once again the target is ‘gangsta rap’. As before campaigns to move up the political scale are in the minds of ambitious statesmen who tout family values and cuts in funding to the poorest classes. For the politicians and their devoted followers rap has no values. In their opinion rappers advocate lawlessness and are undermining that great cornerstone of society – the family. The US media has jumped on the hype with editorials each day deploring a genre of music that they believe contributes to the decay of the inner city. No-one bothers to look at the real reasons that the ghettoes stay that way, and they don’t look at the benefits of rap on the black community. No-one chooses to look at the positive affect it has had on black youth clawing their way out of the poverty cycle.
“I read in the paper that they’re saying that Warner Bros. supports rap and rap is dead and whatever. Rap is dead? That way of thinking is going to start the revolution that our generation is going to witness and be part of. Rap is the communicator of the ghetto,” Sticky bellows angrily. He trots out one of his conspiracy theories to back himself up.
“Hip-hop and shit? Hip-hop got more followers than Jesus Christ, so when muthafuckers try to fuck with that, they’re definitely going to face repercussions from people that support it. And that’s a whole lot of muthafucking people everywhere. White, black, everyone. I can see a revolution where it’s going to be rich against poor. It ain’t going to be a color thing. It’s going to be between the haves and have-nots, because the government is about to get ill and take over this whole shit. When your dollar bill says ‘New World Order’ on it – ‘Novdus Urdo Seclorum’ is Latin for ‘New World Order’ – that shit’s been on your dollar bill since 1776 when they signed the Declaration of Independence. It’s all leading up to the year 2000. In Revelations in the bible, which is probably a man-written book but is supposed to be the words of God and shit, they said plagues will overcome us. We got Ebola, we got AIDS, things is happening and shit. Right now it’s all about living and surviving!”
“This is a revolution for all youth, period. Because it’s bigger than ghetto youth rap. And now that you see us getting bigger than the ghetto youth – this is the tool and once they try to break it, they’ll definitely know what they’re in for,” Sonee opines. “Rap ain’t the problem, muthafucking government are the problem. They’re trying to damn it, you know why? Because they wouldn’t put their money into it, brothers started selling millions and getting money and now it’s getting too big for them [politicians]. We are speaking our minds too much, there’s affirmative action and all that. They realize we can say what we want to, so they now don’t want us to have all this freedom of speech…”
    Neva offers his theory. “They want to ban it because they know how we can reach people, but you know what? It’s too late! Rap is giving people knowledge…”
“Say I was a slave master and I had house niggaz and field niggaz. If I had the field niggaz telling the house niggaz ‘We could be out, man. We could break out this shit!’ I’d kill that muthafucker,” says Sticky. “You got people in rap kicking the truth and telling what happened to us and we telling people what to do to stop that from happening to us again. The government are fighting to get rid of us, the government are trying to ban us.”
Sonee poses a hypothetical question. “How do you think this world would be if all rappers were political and really knew their facts, do you think we could have progressed this far? If there was no such thing as gangsta rap, do you think it would have progressed this far?
“They want us to say, ‘Kill a muthafucking nigga’, but as soon as we say ‘Kill the police’ they be like ‘Hey, wait a minute!.”
For Sticky, thoughts of an impending war loom largely in his head. He believes he must be prepared and that he must warn others. “If they can carry a gun, I should be allowed to carry a gun too,” he says. “He might be a man, actually for all I know he could be a bitch! But he’s a human just like me, but he gets to carry a gun, they call that ‘peace making’! I think gangsta rap is turning more to black-on-white violence, that’s why they’re scared of it, because if it were black-on-black violence they’d be loving it. Then they wouldn’t have to use AIDS to cut down our population, they wouldn’t have to put liquor stores on every corner in where we populate. They wouldn’t have to put drugs and guns in our ‘hoods, within our reach.”
Before being able to trot out the counter argument – the one which says blacks have minds of their own, that they can walk past a liquor store, say no to the gun – Sonee finishes up. “They’re not giving us enough, so we have to use these things a lot,” he complains.

               We continue to debate the trials that beset rap, but Neva doesn’t want to talk about it anymore and says so. He wants to talk about the group’s formative years, when they were hustling and rhyming in the parks. “Let’s change up these questions. I think we’ve said our piece,” he takes over. “My name is Neva. Or Fredro Starr… and me and my man Stick, SF or Sticky Fingaz, we cousins so we got the same blood and my man Suave, he ain’t Suave no more, he Sonee Seeza, because he seen the light. I met that nigga at a battle. I burnt this muthafucker and me and this muthafucker went downstairs and deejayed and rhymed and got high. We just met the one time and clicked and that was like ’86, we were young, taking tabs ,getting high, wildin’, going to clubs and fucking buggin’. DS was down, he was in the ‘hood with us, we all lived in Southside, Queens and Sticky lived in Brooklyn. Sticky moved to Queens in 1990. He was doing his solo thing but we all got together, because you have to get your hands together and wash up. You can’t wash stuff with one hand. We put stuff together and we formed Onyx.”
Sonee and DS were invited to a wedding that also happened to be attended by Def Jam impresario, Russell Simmons and Run DMC. “We were loving rap from the beginning and here we are at this party and downstairs were the kings of rap,” Sonee recalls. “While we were rejoicing about this happy day, someone put some turntables on and we started rhyming.”
A year after the initial meeting, Onyx bumped into Run DMC again and set the wheels in motion for their explosive debut. “We were just some niggaz rhyming. It’s like someone took me by the collar and pulled me from my family and shit,” remembers Neva. “I got sucked into this music business, it just pulled me on tour and into the studio. It’s all about developing. I started making that money and shit. You quit your little day job and shit, you know, selling your little weed and that and you went onto bigger and better things and you see that the money was there. You never thought the money was there because the fucking record labels got a lot of muthafucking money and we’re trying to see that shit.”
Onyx want to stress that they’re not one album wonders, that the success of ‘Bacdafucup’ was no fluke, that ‘All We Got Iz Us’ is no mediocre follow-up. They say they worked hard. They’ve grown up and matured. The listening public will be surprised, impressed even, by their maturity. Neva says several times during the interview that he and his cohorts are now rap veterans, having rhymed in some form or other for a decade. He’s earned his stripes.
“You know Lost Boyz? They’re from our way and have been rhyming for ten years like us. Niggaz don’t know that! I’ve been doing this shit for nearly ten years in the parks, not just in my house. I’ve been in the park exposed to all those niggaz, word is bond. I ain’t no young nigga…”
Steeped in controversy from day one, there were those in the hip-hop nation who accused Onyx of plagiarism. Accusations that Onyx weren’t the originators of the grimee style had been bandied about. When you mention to them that Busta Rhymes is often credited as the originator, Onyx don’t explode as you’d expect, but you can tell they’re annoyed. “Originators my dick! We don’t give a fuck about that,” spits Neva. “Ain’t nobody in the world can actually sit down and write what’s coming out of my mouth. Nobody can write what I’m writing because it’s me. We definitely don’t sound like Busta Rhymes because you can understand us.”
“Put it this way, I feel that Busta Rhymes is his own muthafucking person, his thoughts go through his head, ain’t nobody in the muthafucking world is a mind reader,” Sticky interjects. “I’m Sticky Fingaz, my thoughts go through my head. I could have a face on where no one knows what I’m thinking, but I could be thinking ‘I want to kill you’, you won’t fucking know. Ain’t nobody read minds, everyone’s their own person, bottom line.
“Some niggaz come up to me and say ‘Yo! Them niggaz sound like Onyx!’. Ain’t no one sound like Onyx because they ain’t Onyx, can’t nobody sound like Busta because they ain’t Busta. Straight up! Someone told me some nigga in a muthafucking Nike commercial sound like Onyx. I found out it was one of my peeps from Southside, a nigga named Seventeen and shit. First of all I ain’t even hear that shit and, second, that nigga don’t even sound like me. He ain’t me and can’t nobody be me.”
Were they aware of any resentment towards the group? “I never felt any resentment, I always felt love and we were accepted. I never felt resentment,” Sticky replies.
“It was probably just people that wanted to be where we were at. Niggaz could just bacdafucup, because when you come out you got to come out the right way, but even then niggaz always have shit for you,” Neva philosophizes. “I’m just reading this article about Tupac getting shot, you know what I’m saying niggaz always have shit for you.
‘All We Got Iz Us’ is bound to stir up major controversy, the way their first album did. ‘Bacdafucup’ resulted in Onyx being banned from playing certain venues in the states for fear of rioting. That their trip to Britain culminated in a much publicized riot at a London show didn’t help matters much. They’ve had strong letters written about their obscene and so-called inflammatory lyrics and had their CDs destroyed by certain church groups. And while the hip-hop media watch Onyx to see if they sink or swim, the self-appointed arbiters of high morals will be watching for anything they consider remotely incendiary. Sticky Fingaz is ready for them.
“I’m not anti-nothing, I’m just pro-black and anti-police that rap 13-year-old girls and anti-crooked cops. I’m not anti-white, I’m anti-government, when they tell you what to do. They so ill they tell you what to say. They give you a dictionary and you can only say what’s there, say anything else and it’s considered a curse and curses get censored. If anyone says the government can’t control their speech that’s bullshit. They censor my tape, your tape, they control your speech. They take money out of your check in taxes before you even cashed the check! Before  you even get your money, they’ve already taken their cut! I’m anti-government, that’s all!”
And the music media? What can we expect? “People have big expectations about Onyx and I definitely feel we’re going to satisfy those high expectations,” says Sonee. “We’re just being ourselves, doing our thing.”
So why do they think rappers seem to be in unusually deep shit recently? “It’s not just happening to rappers it’s happening to all of us in the whole world,” Sticky responds. “The only reason they spotlighting rappers is because they’re in the public eye. It happens to all of us. Ain’t no-one special to be locked up. Everyone can get locked up. You should ask me how I feel about what’s happening to all the black people in the world.”
“It’s media hype,” adds Neva. “Your video can be playing on TV all day and you can be walking around with no money in your pocket. It’s fucked up. In this ghetto, everybody don’t leave it. You always susceptible to being locked up. You could be in a candy store that happens to be in a police sweep and get locked up. You’re susceptible.”
“I feel bad for Tupac,” sighs Sonee. “He could’ve been my cousin. It’s too bad he got shot and locked up. But y’know, shit happens.”
 And Eazy? “That’s fucked up…. That AIDS shit is wild. Nigga is putting on muthafucking bags, they don’t want to get fucked up. I don’t consider groupies. I just don’t consider them.”
You have to communicate… as long as she alright and you strap up like you’re supposed to… it’s always a business thing first and then you’ll have a little relations. We don’t even have to be fucking, I mean actually having sex, we can just be chilling. You might see a girl that looks like a groupie and she might not even be on it! It might be much more than that. She might just like your music and want to see how you work and go on her own way.”
The Afficial Nastee Army – The Onyx extended family, which includes their Armee Records signees All City, Whosane and Panama PI – smoke blunts and contemplate their assault for 1995. The army analogy is imperative for Onyx.
“We have to band together because there’s a war out there.” Sticky explains. “There’s a new world order, so we all have to come together for some real niggarin’ shit. And if we’re going to kill anyone, we should kill the enemy. We came out as four niggaz, one nigga went AWOL, we come back the second time around, we know that we’re going to need some weapons, so we fund the right niggaz to get down with Afficial Nast. Hip-hop brings people together. You smoke weed with someone, you bond with them. When you smoke a blunt with them, then you see them again, you cool wit them when you see them next time. He might be a grimee nigga that wants to stick me up….but we’ll bond.”
We pull into their neighborhood, near the basketball courts, where their friends are shooting hooks, drinking 40s and eating chicken. The guys hop out to scope the area for a photo opportunity. Unsatisfied, they do those obligatory hip-hop handshakes and head for another location. We find two and they shoot. Kids and friends, and even a passer-by proffering a tape of songs, come over to see what the fuss is about. Onyx, despite their image, are genial, even to the children playing in the street all day.
We bundle back into the van and carry on chatting, heading off to another location. Neva and Sticky start suggesting shots for the photographer, shots that wouldn’t work, but their enthusiasm and professional attitude is amazing. They’re so affable that you want them to be successful. And they’ll just do it. Their return is more focused than before. Their style is harder-edged without the overtly industrial image that ran like an undercurrent through the last album. Their post apocalyptic raps may not sit well in the languid state that hip-hop is in, but that might be just the thing it needs. ‘All We Got Iz Us’ is a hip-hop conspiracy theory, paranoia, mad party vibe and ghetto anthems all rolled into one. And the niggaz still have mad skills, spitting out lyrics like venom. Right now they might be just the antidote we need.

ONYX on BEING BROKE:
Sticky: “We come from houses with roaches just like everybody else… mayo sandwiches. We came from the real shit – the ghetto. We kept our thing going until someone finally noticed the music. We made it and it happened. We put our love in the music and people noticed it. They knew it wasn’t some fly-by-night thing with us.”

ONYX DEFINITION of GRIMEE:

Sticky: “Our only definition of the grimee style is to give it all you got.”
Neva: “You take it to the limit.”
Sticky: “When you argue and you get louder, you get hyper. Your heart beats faster and you get hype. We just tone down the screaming and shit – all though we still got it – but we bring it in a solid way.”

ONYX on BURNING OUT:
Neva: “We space out what we do.”
Sonee: “The creative juices always blow, if one is getting a little stale the other comes with freshness. We keep each other up.”

ONYX on HOLLYWOOD:
Sticky: “Hollywood is coming to the ghetto, if they see you got talent they come to get it. Word up!”
Neva: “You got to eat out here. So a nigga must sell keys to get loot. I can’t even worry about that shit. That’s a suck dick and gossip shit. Those muthafuckers and the ones that aren’t even buying your records and shit. They talking bullshit.

ONYX on NAME CHANGES:
Neva: “Fredro Starr is dead, my name is Neva, word to mother! It’s been a revolution, the world has changed. Muthafuckers can’t put a hand on me. Keep my shit moving. I blend in like a chameleon, so I got to keep changing my name so muthafuckers can’t be on my dick and put the finger on me. Neva! Bust a move. It goes deeper than that. Neva fails, neva get fucked up. Neva say neva. My name is everyday language like my music.”
Sonee: “If you really check out the lyrics from ‘Bacdafucup’ you’ll notice that Sonee Seeza always was alive. Throughout this year as we enter the record industry you start to see more. Your perception becomes wider, you see different avenues and a lot of actions. Whether they be slick or good actions from people that you run into. So I’m seeing more. ‘Son’ – I’m the son of man and the son of my pops, that’s me.”
Sticky: “I’m Sticky Fingaz ‘cos that’s just me. True that!”

ONYX on PLAYING LIVE:
Sticky: “I rip my heart out of my chest and I put it into my rhymes, you know what I’m saying? My shit is the truth. We been to rap shows where there was no stage and we had to rhyme in the crowd and that was just the illest shit. In the crowd slamming and buggin’ and rucked up. Nowadays a muthafucker can’t just walk around on stage and do a show, just walking and being calm and shit, because he knows there’s an Onyx out there. That Onyx got the shit and the energy that makes the muthafuckers bleed for.

ONYX on a GRIMEE WAY OF LIFE:
Neva: “For us, it’s not just about the grimee style, it’s about a grimee way of living. This is ghetto mentality. Word is bond. The shit other people think about, we think about the same things, but we think about them in a different way. A muthafucker has a hammer in his hand, an average muthafucker thinks there’s supposed to be a nail and a piece of wood. My ghetto mentality makes me look at the hammer and say, ‘I could beat you in the face with that’. That’s the ghetto mentality, that’s how we think. We’d rather steal than not steal. If we find a wallet, we’d rather keep it than give it back – that’s the ghetto mentality!”

ONYX on BRITAIN:
Sonee:  “There was much love, man.”
Neva: “Niggaz ain’t never seen anything like it, man. We brought the energy, as soon as we went to London, soon as we got off the plane, we were running wild through the streets. We didn’t stay in our hotel, we were out. Muthafuckers knew we was in town. We had the whole down going, “These niggaz is buggin”. On the radio we was buggin’, telling people to ‘Fuck the Queen!’. We was bugging on Tim Westwood’s show. We were with this Jamaican promoter, what’s his name? He some big, black, cool Jamaican dude look like kill a million niggaz. But he showed us much love and all the people out there showed us much love.”

BALD AMBITION
Onyx talk through ‘All We Got Iz Us’ track-by-track


‘Purse Snatchaz’
Neva: It’s a whole vivid movie shit. The way we did it was real life shit that was happening, because when it really happened there was no microphone. The way it sounds, it’s so vivid you have to close your eyes, smoke weed and turn that shit on. It’s about living in the USG, it’s the next level. It’s so freaky it’s exotic.”

‘Betta Off Dead’
Sonee:  “It’s the slow hardcore ill shit. It’s about people living in train stations with no place to go. You’re feeling it inside that your life is almost worth nothing because of what they giving us.”
Neva: “When a nigga tells me to get a life, I say ‘Fuck it, I’m better off dead’.”

‘Live Niguz’
Neva: “We live niggaz, who are going to kick the bitch-ass niggaz out.”
Sticky: “Some niggaz can’t get into a club because of some stupid dress code and shit. We be like, ‘Let all the live niggaz in and kick the bitch-ass niggaz out!’. We don’t want any bitch ass niggaz in the vicinity!”

‘2 Wrongs’
Sonee: “Simply knowledge and acknowledge. We always talking about what they did to us, we should be talking about what we’re going to do to them. Two wrongs don’t make a right, but it sure makes us even. We’ve got to infiltrate, then dominate and kill great until we get to where we should’ve been since the dark ages. “
Sticky: “Whenever anybody does something to you it’s a wrong and it’s an eye-for-an-eye that makes all you niggaz even.”
Sonee: “It’s simple underground hardcore with crazy ill guitars and shit. Underground real shit!”

‘Most Def’
Neva: “This is some smooth shit.”
Sonee: “It’s slang that we use out here in the place of ‘Yes, definitely’. If something is phat we say ‘Most def’ and shit.

‘Last Dayz’
Sticky: “It’s that real buttery shit. The beat is going to tear up your muthafucking car. The beats are going to tear the system and get over. Our beats beat the system in any event, just turn it up. This is about the last days that we are living in.”

‘Evil Streets’
Sticky: “That’s our first single off the album… These evil streets is rough. Ain’t nobody you can trust. The way shit is going, you either going to roll with the rush, which is us, or you’re going to get rushed!”
Sonee: “PI Panama does the chorus. When you hear the chorus, the nigga PI is the illest, he’s about to fuck the whole rap game up. He been down with the ghetto celebrity since day one, but we snatched him off the street because he’s got raw talent. He’s been compared to Method Man and all that, but he’s Ill.”

‘Shoot, Stab, Kill’
Sticky: “Is to show fucking emcees them niggaz is fucking jokes. It’s like a routine. It’s Neva, Neva’s little brother Whosane, Sticky Fingaz and Sonee. Everyone is just routine, in and out, in and out. It would have to take a nigga that was down with Onyx to know who was who, that’s how tight shit is!”

‘Shout’
Sticky: “That’s like the muthafucking song to just let out your tension. We just went back to day one with Onyx releasing tension and just slamming. Just, ‘Aaaaggghhh!!!’. Just a shout, let it all hang out!”
Neva: “Uptempo shit with a phat, groovy bassline that’s not hurting anybody. We’re definitely looking for radio play for that one, because we’re smart.”

‘Punkmotherfukaz’
Sonee: “We got a lot of them running around here.”
Neva: “Just like you’ve got bitch-ass niggaz, you got punk muthafuckers. What’s the difference? Bitch-ass niggaz will run, where a punk mothafucker would think about running and stay and get his ass whipped bad.”
Sonee: “We telling them they ain’t got it, so go to they room!”

‘Ghetto Way of Thinking’
Sonee: “Ghetto way of thinking, ‘cos we be smokin’ and drinkin’… you know what I’m saying? That’s what a lot of brothers do to get away from this fucked up reality we living. Word is bond. It’s the escape route for a moment. A few little seconds of happiness.”

‘All Ya’ll Crews, Whatever’
Sticky: “I know a lot of heads in the muthafucking business as far as other rappers and they cool and shit, but they are comp… in fact they ain’t even comp and shit… We want to take it back to the days when it was just battling. We battling freestyle.”

‘Walk In New York’
Neva: “We ain’t dissing no other ghettoes, we just showing niggaz how we get down over here. ‘Walk In New York’ is just evil streets.”

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