Music provides intangible nourishment for all human
beings. Detroit’s own, Black Milk is a producer/emcee who nourishes
listeners with his hip-hop. While many hip-hop fans associate Eminem
with Detroit, a slew of underground music lovers have a deeper
appreciation for Detroit’s hip-hop scene. Black Milk is just one in a
multitude of the Motor City’s new generation of producers who are all
metaphorical sons of the legendary J Dilla. Recently departed
producer/emcee, J Dilla (a.k.a Jay Dee) laid the foundation of
Detroit’s independent hip-hop sound. Dilla was not only an original
member of Slum Village and The Ummah, he produced music for A Tribe
Called Quest, Slum Village, The Roots, Common, Phat Kat, Busta Rhymes,
and many more. Although J Dilla’s influence spawned a worldwide growth,
his musical seed was planted in his hometown of Detroit. His musical
seed especially flourished within the Motor City. Fueled by Dilla’s
inspirational legacy, a myriad of Detroit producers continue their
growth. A few examples of these producers include Lacks, Karriem
Riggins, Lacks, and Wajeed. As with every garden, a few flowers bloom
in such a way that demands appreciation. Black Milk is a significant
producer who displays an exceptional promise. When the Motor City lost
J Dilla, the city was profoundly wounded. The nourishment within Black
Milk’s music has helped to heal Detroit.
Barak Records and Black Milk have a fascinating
history. Originally, Black Milk partnered with Young RJ to form the
group, BR Gunna. Young RJ is the son of RJ Rice, owner of Barak
Records. As a production team, BR Gunna produced admirable tracks for
Slum Village and Phat Kat. On Barak Records, BR Gunna was responsible
for a majority of the production work for most of “Dirty District”
compilation series. BR Gunna and Slum Village were the heart of Barak
Records. BR Gunna recorded a complete album, but Barak Records shelved
the project. The BR Gunna album may never be able to reach the fans.
Problems continued to plague Barak Records. Phat Kat left the label to
sign with Look Records. Due to an assorted mount of problems, Baatin
and Slum Village parted ways. During my interview with Baatin, he told
me that he would never work with Barak Records again. There was little
hope that he would work with Slum Village again. I was told After I
interviewed Baatin, Elzhi mentioned my interview with Baatin on the
Slum Village song, “Reunion” (from the “Detroit Deli” LP). Black Milk
actually produced the fascinating song “Reunion”. Just as Baatin had
issues with Slum Village & Barak Records, Black Milk felt similar
problems. Fueled by his need to make and release music, Black Milk left
Barak records to pursue a solo career.
After an arduous period of time, Black Milk found
peace and success within his music. As a solo producer, he began to
produce for many respected artists. He discovered that he was able to
succeed without the help of his long time partner Young RJ. Black Milk
contributed beats for Canibus, Pharoahe Monch, and Lloyd Banks. Black
Milk eventually released “Sound Of The City” LP and the “Broken Wax”
EP. The absence of J Dilla left the hip-hop world yearning for
Detroit’s signature sound. Dilla’s influence nourished Black Milk’s
inspiration.
Black Milk’s signature sound is growing strong.
Released on Fat Beats Records in 2007, the “Popular Demand” LP by Black
Milk showcases the potency of Detroit’s hip-hop evolution. Entirely
produced by Black Milk, the album is soulful, diverse, hardcore,
unique, and emotional. “Popular Demand” has already begun the healing
within Detroit’s hip-hop scene. Baatin actually reunites with Slum
Village (Elzhi & T3) on the magnificent song “Action”. Other guests
include Guilty Simpson, Phat Kat, Ty, Fat Ray, Que Diesel, and One Be
Lo.
Black Milk creates music that nourishes hip-hop
culture and his Detroit brethren. He is currently working on songs for
Pharoahe Monch, Lamont Bishop, Sean Price, and many others. Although he
will never take J Dilla’s place, Black Milk will continue to be
inspired and educated by Dilla’s legacy. He is not trying to duplicate
J Dilla’s classic style. Black Milk is trying to help the Detroit
hip-hop sound evolve. Detroit has encountered pain and extreme loss,
but continues to grow. The music of Black Milk is healing Detroit and
evolving the city’s signature hip-hop sound.
TODD E. JONES: “What goes on?"
BLACK MILK: “Yeah, yeah, man! What’s going on?”
TODD E.
JONES: “Actually, there is an odd connection that I have with you.
First, I interviewed your former partner, Young RJ (from BR Gunna).
Second, in the song you produced for Slum Village called ‘Reunion’
(from their ‘Detroit Deli’ album), Elzhi rhymes about Baatin’s comments
in an interview I conducted. I was the person who interviewed Baatin.
Elzhi is talking about my interview.”
BLACK MILK: “Oh, yeah! I remember! I remember!”
TODD E. JONES: “After Baatin left, I interviewed him and published
exactly what he said. Then, the next thing I know, the interview is
mentioned in a Slum Village song and even in The Source.”
BLACK MILK: “Yeah! That’s what’s up! It’s all good, man!”
TODD E. JONES: “As a producer, you brought Baatin to perform on a track
with Slum Village again (Elzhi & T3), after many years of so-called
bad blood.”
BLACK MILK: “Oh yeah. On ‘Sound Of The City’ and the new album.”
TODD E. JONES: “Tell us about the ‘Popular Demand’ LP about to be
released on Fat Beats Records.”
BLACK MILK: “The album, ‘Popular Demand’ is dropping in March. It’s
just the new album coming out on Fat Beats Records. I’m feeling good
about it. Basically, it’s a continuation of ‘Sound Of The City’ and
another EP on wax that got put out in November called ‘Broken Wax’. The
music is on the same vibe. It’s soul music, but still upbeat and
hard-hitting. It’s up-tempo and innovative. I have a few songs that are
rock influenced, jazz influenced, and electronic influenced. It’s music
to enjoy yourself to. Yeah, man. It’s dope hip-hop music.”
TODD E. JONES: “How is ‘Popular Demand’ different from your last album?”
BLACK MILK: “The ‘Sound Of The City’ is a little old school.”
TODD E. JONES: “I would like to pay my
respects and say, ‘Rest In Peace’ to J Dilla. Recently passed away, J
Dilla was a legendary Detroit hip-hop producer/emcee who will be
missed. He left behind a legacy and no one can truly replace him. Since
you are from the same scene and worked with him, many critics are
comparing you to him. Do you feel that people are putting pressure on
you to fill his shoes or carry his torch?”
BLACK MILK: “I don’t think it’s really pressure. I hear it from
some people sometimes. I don’t like to get into it when people ask me
if I am the next one. I don’t like hearing that type of stuff. Dilla
created the sound. He created a sound for hip-hop. Those are some big
shoes to fill. Nobody will ever fill those shoes. One thing that I want
to do that Dilla did, was put out good music over the years. That’s the
only thing I want to do that Dilla did. I don’t want to do his sound or
style. I just want to put out good music all the time like he did. You
never really heard a wack J Dilla record. I take it as a complement
when somebody could even think that I could ever get close to his level
or put out dope music like he did. I am just one of the Detroit
artists. You got people like Karriem Riggins and Wajeed. Lacks is doing
his thing. I don’t know why some people look at me. Maybe it’s because
I’m rapping too. I don’t know.”
TODD E. JONES: “Most of your past work was
released through Barak Records. You were one half of the group BR
Gunna, who also consisted of Young RJ. Barak Records is owned by Young
RJ’s father. Now, you are a solo artist. You released your new record,
‘Popular Demand’ through Fat Beats Records. Why and how did this
happen?”
BLACK MILK: “I hooked up with Fat Beats. It’s a long story and I
have to get into the BR Gunna thing. I want to make it clear. Young RJ
and I were doing the BR Gunna thing. We had a BR Gunna album that
basically got put on the shelf by Barak Records. I wasn’t really
feeling that and I wasn’t feeling some of the business side of things
over there. I decided not to really leave the situation, but step out
of the situation for a little bit. That was when I put out the project,
‘Sound Of The City’ in 2005. I had to work on my own solo stuff because
the BR Gunna album got put on hold. I needed music out there. I had to
keep my name going. I put that out and the underground responded to it
well. People were feeling it. A lot of people were saying that it was
one of the dopest underground hip-hop projects of that year. After the
buzz grew on the underground circuit after that, Fat Beats and a few
other labels tried to holla at me. Fat Beats perused me the hardest. I
went with them. They made me a nice little deal. They were already
paying me for the music and they loved the music. They made me feel
better and made me want to work even more. They are people who like my
music just as much as I do. Also, they want people to hear it just as
much as I do.”
TODD E. JONES: “Fat Beats is dope. Angie
and Ethan from Fat Beats always get the job done and are wonderfully
professional. Angie worked very hard to ensure that this interview took
place.”
BLACK MILK: “Wow, man!”
TODD E. JONES: “When I interviewed Baatin,
he told me that he will never do business with Barak Records again.
What about you? Are there any problems between you and Barak Records?
Will you work with them again?”
BLACK MILK: “(laughs) Baatin is crazy! I wouldn’t say that I
would never work with Young RJ again. Hopefully, we can work again
together in the future. Young RJ is the son of RJ Rice. It’s kind of
weird. For me, the business was not all the way right. I don’t have to
say too much about all of the episodes that went on. Just look at it
for yourself. Look at all of the artists that Barak had. Now look where
they are at. Phat Kat is doing his thing with Look Records now. I’m on
Fat Beats.”
TODD E. JONES: “So what is the status with
BR Gunna? Will you and Young RJ ever work again as BR Gunna?”
BLACK MILK: “I won’t say that it’s gone. I won’t say that we will
never put together music in the future. Me and Fat Ray are cool. Fat
Ray was basically the emcee of BR Gunna. When we did ‘Dirty District
Vol. 2’, Fat Ray was like on every song. Me and Fat Ray still work
together. I’m trying to get to Fat Ray in this situation now. So, we’re
working on music. But, right now, I don’t really know. I’m doing my
thing. Young RJ is doing his thing. That’s what it is.”
TODD E. JONES: “On the ‘Popular Demand’
LP, Baatin reunites with Slum Village (Elzhi & T3) on the song,
‘Action’. There were some problems between them, but you got them
together for a song. How did you do this?”
BLACK MILK: “I don’t know, man. I did the track and the track was
crazy. I wanted to spit on it and then I wanted to have Slum on it.
Then, I thought that I wanted to have Baatin on it too. Elzhi, T3, and
Baatin have not done a song together since the ‘Trinity’ album. That
was like 2001 or 2002. I had Baatin come to the lab and bless me with a
verse. We made it happen. There it is! All three of them on one record.
It was crazy!”
TODD E. JONES: “Do you think that
Baatin and the rest of Slum Village will ever be back together as a
group?”
BLACK MILK: “The Slum is doing their thing. Baatin is still
trying to get himself together.”
TODD E. JONES: “Baatin did have some
health problems. How is he doing health-wise these days?”
BLACK MILK: “He’s doing cool. Basically, I haven’t talked to him
in a little while, but the last time I did talk to him, he was looking
alright. He’s doing cool. Once Baatin handles whatever problems he has,
he will be all good. I would love to have all three of them dudes back
in the studio again to do another Slum Village album.”
TODD E. JONES: “Do you have a
favorite track on the ‘Popular Demand’ LP? Why?”
BLACK MILK: “To tell you the truth, the Slum track, ‘Action’.
That’s the craziest song on the album. It’s so hype and the beat is so
not Slum Village.”
TODD E. JONES: “What song on the
‘Popular Demand’ album took the longest to complete? Why?”
BLACK MILK: “I’m got them all out pretty quick, in a few days
time. I knock them out kind of quick. Once I start one, it doesn’t take
me longer than about two or three days to have it done. Usually, I have
a rough skeleton version of the track laid out on Pro-Tools. Then, I
have whoever I will have rhyme on it come through and lay their vocals.
Then, I may add some atmosphere or some other sounds. Then, it’s a
wrap. That’s how I work. It doesn’t take weeks on end. I may come back
to a track a few weeks later and throw a little sprinkle on it, but I
really knock a track out in a couple days time.”
TODD E. JONES: “On the song, ‘Power, Money
And Influence’ from Guru’s ‘Version 7.0: The Street Scriptures’ album,
Talib Kweli remarks that Pro-Tools made producers lazy. Do you agree?”
BLACK MILK: “(laughs). I wouldn’t say that it is actually making
producers lazy. I know people who just do their beats in Pro-Tools. I
had a chance to kick it with Just Blaze in Australia, not too long ago.
He uses Pro-Tools. He put me up on how easy it is. Not easy, but it
gives you more room to be creative with beats. I don’t really look at
it as people who use FruityLoops, do their beats with Pro-Tools or
other programs like that. I don’t look at it as bad because you still
have to have talent to put the beat together. The beat is not going to
put together itself. The beat cannot do it on it’s own. You still have
to have talent. I know 9th Wonder. He uses FruityLoops and makes dope
beats that sound like he made them on the MPC. I know some other people
who use FruityLoops and their beats aren’t good. It’s really not about
the program. It is about who is behind the machine.”
TODD E. JONES: “Who are some artists who you would like to collaborate
with in the future?”
BLACK MILK: “Ah, man. I’m really trying to work with anybody who
wants to work with me, but I would prefer certain favorites who I would
love to do a collab with. These are people like Madlib and MF Doom.
That would be crazy. I would love to do a collaboration with Ghostface.
I would love to do something with Busta Rhymes, some off the wall sh*t
for him. Nas and Jay-Z, of course.”
TODD E. JONES: “What LPs have you been listening to during the last
couple of days?”
BLACK MILK: “What do I have in the ride? I have ‘The Shining’ by
J Dilla. I’m listening to Prince’s ‘Controversy’ CD. I have a Nirvana
CD in my ride.”
TODD E. JONES: “Which Nirvana album?”
BLACK MILK: “I just bought it. Somebody made me buy it. It is the
one with the baby floating in the water on the cover.”
TODD E. JONES: “Oh, that is ‘Nevermind’ by Nirvana.”
BLACK MILK: “Yeah. There was one song I heard on that album when
I was in a club. I had to get the CD. I can’t think of the name of the
song right now. I think it was one of their singles too.”
TODD E. JONES: “I think a true music lover simply appreciates all kinds
of music.”
BLACK MILK: “Yeah. I’m starting to get more into the rock thing.
I definitely understand it. I feel like I can listen to it. I don’t
just listen to hip-hop CDs.”
TODD E.
JONES: “Yesterday, I just got the new Sean Price album, ‘Jesus Price
Supastar’. That is so incredible. It’s one of those CDs that I just
cannot eject because I keep on listening to it over and over again.”
BLACK MILK: “Right! That album is crazy with it. I think that
album will be one of the dopest releases of the year. I’ve been
listening to it, but I had to take my ears off it. I didn’t want to
wear it out too soon.”
TODD E.
JONES: “What is the meaning behind your name, Black Milk?”
BLACK MILK: “The Black Milk just came from me trying to make a
name that stands out when people see it or hear it. I want people to
think, ‘Who the hell is Black Milk?’ Plus, you got a lot of artists
with different kinds of names. You have Eminem, Slum Village, and House
Shoes. They are different names, but they are not like they sound as if
they are from the East Coast or the West Coast. Detroit has different
types of names. I came with Black Milk by putting a whole bunch of
words on a piece of paper. Those two words just came together.”
TODD E.
JONES: “Metaphorically, why not this? Milk is nourishing. Also, you are
Black and have a love for your race. So, you are nourishing your race
or culture.”
BLACK MILK: “Right! My music does your body good!”
TODD E.
JONES: “As a producer, J Dilla has been an obvious friend and influence
to you. In the technical sense of making music, what was the most
powerful thing you have learned from him?”
BLACK MILK: “Music wise? I learned. I saw how he was stern. I
have heard a few stories and I have seen him do this. He would stay on
a track until he got it the exact way the beat sounded in his head. I
kind of think that way now about my beats. I don’t mean being a
perfectionist. I am going to do it until it is good to my ears, but I
really go off the field and watched how he did things. He just mastered
his craft. He mastered the machines and mastered the 3000. That’s the
way it feels. Every moment, I’m learning something new musically. I’m
just trying to grow musically. I saw how he grew musically over the
years. I’m trying to do the same thing from live instrumentation to the
MPC. That’s what I take from him more. J Dilla just kept on being
innovative and creative musically. I’m learning new things. I’m
learning new things about the drums that he already new about the
drums. So, I think to myself, ‘Oh, this was what he was doing! This is
how he is making the kick punch and the snare snap!’ I always had nice
drums, but a certain technique has a certain feel. I know certain
techniques, but I’m starting to really master and figure this beat sh*t
out.”
TODD E. JONES: “Favorite drum machine / sampler?”
BLACK MILK: “I do most of my work on the MPC 2000 XL. That’s what
I do here. That’s what most of my tracks are done on.”
TODD E. JONES: “On the ‘Hip-Hop For Sale’ album by Canibus, there was
an advertisement for a Black Milk album on Mic Club Records. What is
the story with that?”
BLACK MILK: “I don’t know what that was about! I was like,
‘What?’ My name was spelled wrong. I don’t know what that was about. It
had like a black hand or something on the cover. I still don’t know
what that was about till this day. I didn’t even talk to him about it.”
TODD E.
JONES: “You did produce a song for the ‘Hip-Hop For Sale’ album by
Canibus, right?”
BLACK MILK: “Yeah. That was my beat on that album, but the whole
thing about me coming out with a whole album I didn’t know anything
about. I was like, ‘Wow! Okay’ I didn’t know where that came from.”
TODD E.
JONES: “Word association. When I say a name of a name, you say the
first word that pops into your head. So, if I said, ‘Flava Flav', you
may say ‘Clock’, ‘Crack’, or ‘The Surreal Life’. Okay?”
BLACK MILK: “Alright.”
TODD E.
JONES: “Little Brother.”
BLACK MILK: “Backpack.”
TODD E.
JONES: “Baatin.”
BLACK MILK: “Talent.”
TODD E.
JONES: “Young RJ.”
BLACK MILK: “Cool.”
TODD E.
JONES: “Eminem.”
BLACK MILK: “Genius.”
TODD E. JONES: “Lacks.”
BLACK MILK: “Innovative.”
TODD E. JONES: “Marvin Gaye.”
BLACK MILK: “Legend.”
TODD E. JONES: “Curtis Mayfield.”
BLACK MILK: “Legend.”
TODD E. JONES: “Wu-Tang Clan.”
BLACK MILK: “Dirty.”
TODD E. JONES: “George Bush.”
BLACK MILK: “*sshole.”
TODD E. JONES: “What was the most important lesson you have learned in
your career?”
BLACK MILK: “Just having patience with everything in life.
Whether it is in the music game or just dealing with people, just being
calm and having patience. I think I have patience with a lot of stuff
now, especially since the way things have been going for me for the
last few years. This past year especially, since I’ve been in the music
thing, I’ve been learning to have patience with people. Everything is
not what it seems. I really don’t get excited about too much of
anything anymore until something happens because I don’t want to get
disappointed. Those are to things I have learned. I now have patience
and I don’t believe it until I see it. I try not to get caught up in
that hype.”
TODD E.
JONES: “You have worked with a myriad of legendary artists like J
Dilla, Canibus, The Dramatics, and more. Which collaboration was your
proudest moment?”
BLACK MILK: “So far, I think I have to say the J Dillla
collaboration and working with him on a few different occasions. It was
when I got the chance to hear him on the ‘Reunion’ beat that was on
Slum Village’s ‘Detroit Deli’ album. I produced that track. We got it
to Dilla and he came back. When J Dilla spit over one of my beats, that
was like gold to me. He was my biggest influence as a beat maker and
artist, period. This was before I met any of those dudes. Just to have
him on my track was one of the dopest collaborations. I am glad that I
was fortunate enough for that to happen. A lot of people didn’t have
that chance to work with him. I’m so glad that I had the chance to hear
him over more than just a couple of my tracks. Plus, I would also say
that the collaboration I just did with Pharoahe Monch was dope too.”
TODD E. JONES: “What was the last incident of racism you experienced?”
BLACK MILK: “That’s a tough question. To tell you the truth, once
you mentioned racism, I thought of white people right off the top, but
in this last incident, the person was not even white. I was just in New
York about 2 or 3 weeks ago. As a Black man, I can’t catch a cap during
a certain time of night. It’s hard to catch a cab, man. Me and my
manager were coming from the studio and tried to catch a cab. They just
kept on passing. Then, one stopped. We wanted to go to Brooklyn.”
TODD E. JONES: “Ah, the cabs won’t
take you.”
BLACK MILK: “They won’t take you. We were standing in Manhattan,
but we had to go to Brooklyn for something. They wouldn’t take us.
There was this girl, who looked white, but she was just light skinned.
We had here stand on the corner and my manager and I just stood away
from her. She got a cab immediately. We hopped in and went on. That was
crazy.”
TODD E. JONES: “Besides ‘Popular Demand’, what should Black Milk fans
look out for in the future?”
BLACK MILK: “On the Pharoahe Monch album, I got two tracks on
there. One is called ‘Let’s Go’ and the other one is called ‘Bar Tap’.
Monch’s album is called ‘Desire’ and I think that should be dropping in
April. I’m working on this Sean Price & Guilty Simpson album. Sean
Price is from Heltah Skeltah and Boot Camp Clik as you know. It’s a duo
album. We got the word from Sean Price and he was like, ‘I’m down to do
it.’ He mentioned it in a couple of interviews. I’m going to produce
the majority of that Sean Price & Guilty Simpson project. That
should be crazy. There is this kid from Dr. Dre’s Aftermath label named
Bishop Lamont. Me and him are like a 9 or 10 song EP together called
‘Caltroit’. This will include Cali artists and Detroit artists with a
few Cali producers and Detroit producers. I’m going to be doing some
beats for the D. It’s going to be me and him presented it. That should
be out sometime this year. I’m working on a new Slum Village record.”
TODD E. JONES: “Do you think that BR
Gunna album that got shelved will ever be officially released?”
BLACK MILK: “Probably not, unless they reach out to me and have
some money.”
TODD E. JONES: “What was the title for that shelved BR Gunna album?”
BLACK MILK: “We did have a title for it. We called it ‘Stars
& Stripes’. That was one of the titles we were thinking of using
for it. They have to come with a check for me and Fat Ray to make it
happen.”
TODD E. JONES: “Final words?”
BLACK MILK: “Check out the album, ‘Popular Demand’. I’m coming
with the style and new generation of what J Dilla and Slum Village put
down for hip-hop. You know Premo and Pete Rock? I want to be like them.
I’m influenced by all of those guys. I want to have it like them. The
sound that I was inspired by? I want to take it and make it my own, yet
make it appeal to a younger audience and the masses. Kanye West did it.
He did regular hip-hop, but he found that niche to make it pop. I look
to him for inspiration. He’s doing creative music and being innovative.
He’s making music that is appealing to everybody. Thanks, Todd. This
was cool. Most interviews are dry when the people are not familiar with
the music, but you’re cool and know your sh*t. This has been one of the
dopest interviews I have had!”
Interview: BLACK MILK