Patience is most virtuous in Hip-Hop. Today’s rapper wants his recognition yesterday for what he promises he’ll do tomorrow. The result is rarely something that sticks to the ribs of the fans. Teflon, though his name is ironic, is lodged between the heart and the ribs of Hip-Hop. He has no intention of getting out.

The Brownsville, Brooklyn native has been grinding for over a decade. From a rare release in the 90’s, to acclaimed work with Das EFX and M.O.P., Tef has paid every due imaginable. As he exits a botched deal with Def Jam, Teflon prepares to deliver his Contraband outside the walls of a major, but within the Headquarterz of DJ Premier’s Works of Mart. In celebration of the oncoming album and recent mixtape with Big Mike, Teflon and AllHipHop.com admire his patient career, trace his First Family ties, and revisit the magic of D&D Studios. Teflon’s words are as sharp as his trademark raspy battle-cry. Read on…

AllHipHop.com: What have you been up to in 2005?

Teflon: Mostly studio work, prep time type thing. We wrapping this album up, it’s called Contraband – myself and DJ Premier, we been workin’ on it for a little minute. But we ran into some technical difficulties with Def Jam, behind the scenes stuff. So we had to get all the back structure right. Now, we just layin’ the groundwork and gettin’ this album ready for the street.

AllHipHop.com: So this Big Mike mixtape serves as a way to educate fans on your background?

Teflon: Yeah, it’s just kinda like an appetizer for the streets. It gets the people reacquainted with Teflon, let ’em know that I got some new s**t about to drop. We got like 23 joints on there, the name is “Bad News Volume 1” – freestyles, old joints.

AllHipHop.com: I think the average fan might lump you in with your work with M.O.P. I want to stray away from that, but at the same time, tell me how your bond with the First Family came about?

Teflon: I came up in Brownsville, [Brooklyn] – the same part of town as M.O.P. They put me on and all of that. My main thing is, from way back, I always had a love for the artform. People like Rakim, G Rap and Kane, they inspired me to get into the business. I had a lil’ knack for it when I was younger. I played with [rap] a lil’ bit. I never really took it serious ’cause there was so many other things going on in my life that took precedence over it. I never really looked at it as something serious to get into. As time went on, I started becoming a little sharper and began to realize that I may be able to pull this s**t off. Now, it’s just about me establishing my own ground and showin’ people what Tef’s all about.

AllHipHop.com: Brownsville is a densely populated region. Smoothe and Trigga are from there. What was it about you that shined to Danz and Fame?

Teflon: Before the whole music s**t started, I knew Billy, I knew Fame, I knew Fame’s brother. I used to be on the block, hangin’ out, gettin’ money on the block. Them other dudes wasn’t comin’ on the block, they wasn’t really allowed on the block. When the whole music started happening, I was gettin’ into my thing, [ M.O.P.] was gettin’ into they thing, Smoothe and them was gettin’ into they thing, and they was kinda like from a couple blocks away and never really hung out with dudes. [M.O.P.] done seen me do dirt, they know how I get it in. They might not felt like that ’bout everybody. Even though they musical dudes, they are from the street – so they are real high on principle and respect. If you ain’t do it, they ain’t gonna cosign. So if you runnin’ with ’em, you gotta be dope and you gotta be about what you talk about.

AllHipHop.com: So when did they know you were dope?

Teflon: One time my man had set me up to do a lil’ show in Tompkins Park in Bed Stuy. At the time, Fame and them had “How About Some Hardcore?” out. I asked Fame to DJ for me at the joint, ’cause he knows how to. He came to the show and DJ’d for me, and Bill [Danz] was there. Everything just started gettin’ so good that they wound up gettin’ hyped, and wantin’ to perform. After that, I went to a club with them that night and performed. We went to the studio, the radio station. I started opening up shows for them. Unofficially, I just kinda became they hype-man or whateva.

AllHipHop.com: “Ante Up” and Pharaohe’s “Simon Says” were one of the last times street records just were undeniable to the radio. Both M.O.P. and Monch used those opportunities to put on great MC’s on the remix. What did the remix do for your career?

Teflon: It definitely brought about more of an awareness of who Tef was, as well as M.O.P. When they did that joint, it gave the world an opportunity to see. It gave me a platform to follow-up. There started bein’ interest in places there probably wasn’t before.

AllHipHop.com: Last question regarding them. But as somebody from the block with these dudes, how have you felt the affects of the G-Unit deal?

Teflon: Listen, I’m coming down the block and I just heard “How About Some Hardcore?” on the radio, and I saw Fame. They just had a cassette tape of To The Death which wasn’t even out yet. He gave it to me. When I put that joint on and I was walkin’ down the hill at the time, I was fresh home from just doin’ some time in jail. I couldn’t really be out and about like that. But man, when I listened to that, all I could say was, “These n***as are gonna blow!” I knew these n***as had it. When I look at their situation, it’s like gettin’ a diploma after you done went to school seven or eight years. They earned it! I felt like that in ’94, I feel like that now.

AllHipHop.com: As a true blue New Yorker, why is the South so successful right now?

Teflon: Point blank, it’s like this: you started off with these dudes down South sellin’ s**t out the trunk of they car. Now, you might have one dude who might be like the absolute dude in his town, and the town will get behind him. So this will move 50-100,000 [dollars] from the trunk of his car. By the time the majors come to these dudes, they gotta spend 15-20 million to even holla at these n***as. [laughs] “And if not, no problem. We just dropped a mixtape that’ll do another $100,000! So you ain’t really said nothin’ slick. Unfortunately, New York is cluttered with 1,000’s of f**kin’ rappers. Even if you got a dude that’d be considered “that n***a”, dudes ain’t really gettin’ behind him because everybody else wanna be chief. What ends up happenin’ is all the hagglin’, the bulls**t, the beefs – all that silly s**t, meanwhile these dudes down South, they eatin’, organized. Their strength is more than New York.

AllHipHop.com: Right, right. You mentioned Def Jam earlier. You’re no longer there?

Teflon: We got the deal with Def Jam in 2001. I signed to Def Jam through Premier’s production label which is called Works of Mart. When I got there, as an honorable gesture, I tried to bring awareness back to the Def Jam I grew up [by recording] “Tef’s Def Jam”. We was supposed to have been puttin’ together an album. After the TVT [Records lawsuit], Kevin Liles left. Unfortunately, Kevin was the one handling our project. When they left, the whole administration broke down. When they had Jay-Z come in, we thought s**t was gonna be sweet. “Oh, Jay came in. I know him and Preem go back, whateva.” I don’t know what happened…

AllHipHop.com: So your Contraband project is coming out independently, not Def Jam?

Teflon: Nah, I don’t consider it Def Jam. Them mothaf**kas ain’t done nothin’ for me. Right now, we open agents. We got our own destiny.

AllHipHop.com: Little known fact is that you had an album, My Will released on Relativity in 1997. That had to mean a lot to you. What does it mean to you now?

Teflon: The experience was a good experience for me. I had to pretty much do the album in three weeks. I did it kinda quick, a lil’ rushed. I wasn’t as crazy about the production. At the time, just comin’ into the game, there was a lot of technicalities of the game that I didn’t understand. One being that – all dopes ain’t necessarily the beats for you. I couldn’t distinguish that. This is where Premier came in. Because after releasing that, nobody [still] knew who Tef was. They might’ve heard me do a verse on an M.O.P. album, they still ain’t know how to address me, as far as production. It was a good opportunity for me to let industry and street people know that I do got potential. It was raw at the time. Now I got a clear perspective.

AllHipHop.com: I would probably guess that much of your career is defined by patience. Every studio has a couch with hungry cats waitin’ their turn. Being that dude, what advice do you offer today’s restless young talents that don’t wanna wait?

Teflon: Nothing has taught me patience in this world like dealin’ with this business. When I started off, occassionally, I’d be able to get on a track here, or a track there. For the most part, when it became time for Teflon to put Teflon’s album together, it was a whole different story. It was hard for me to get into the studio, hard for me to book times – it wasn’t goin’ down like that. I had to be patient on that note. Somebody once told me that, “Nobody is ever gonna pay more attention to your s**t than you are.” If other people see that you’re not working hard, it’s not gonna bare much importance to them. But when they see you working, that’s when they get the ball moving a lil’ more. You gonna have to work out times, you gonna have to work out a mix engineer, you gonna have to get the joint pressed up. You tellin’ somebody the picture ain’t always gonna do it, they gotta see it.

AllHipHop.com: You were a mainstay at D&D Studios, I’m sure…

Teflon: That was home! No bulls**tin’, that was like a clubhouse. You shoot pool, you get your smoke on, your drink on. You got Jay-Z in this room. You got Biggie in that room. Come on, n***a, you couldn’t ask no better place to be at. It was a competive atmosphere because you had all these bangin’ artists comin’ through. When they laid down what they had to lay down, you didn’t wanna look stupid before them or after them. I gotta make sure I’m on-point when I come!

AllHipHop.com: I can remember that pool table. Who was the best pool shot? Who was Eddie Kane?

Teflon: Jay had a good game. I whooped him, he won’t admit it. He whooped me the next time. There were others, but he was the most known guy I can remember playin’.

At the arrival of Mos Def’s “Ms. Fat Booty”, Ayatollah’s deft reworking of an Aretha Franklin deep cut made him a sought-after producer. Rawkus may’ve been crucial to ‘Tollah’s arrival, but work followed with Ghostface, Rakim, and Smif-N’-Wessun, solidifying his staying power. The one-time Tragedy Khadafi DJ and student has risen to acclaimed ranks. Today he proudly claims, “I’m the pied-piper, and everybody else is just playing catch-up.”

The Southside Jamaica veteran began his career tapping out beats on Marley Marl’s drum machine, and hasn’t lifted a finger since – without New York’s best Hip-Hop intentions in mind. 2006 promises to reveal potential work with Raekwon, AZ, Sean Price, and Shabaam Sahdeeq, keeping Ayatollah steady working. But first, at the arrival of his soulful, risk-taking experimental album, Now Playing, Ayatollah and AllHipHop.com discuss the album, today’s “chipmunk soul”, and the hey-day of Rawkus. Longevity reigns supreme…

AllHipHop.com: Now Playing isn’t your first beat-album. I can remember my man showing me So Many Reasons To Rhyme a few years ago, being truly impressed…

Ayatollah: Wow. Yeah, that was actually like 2001.

AllHipHop.com: That was much more underground than this one, which is on Nature Sounds, a label. What let you know that 2006 was a good time to strike again and more publicly?

Ayatollah: Everybody is like, “Well, we know Ayatollah’s work.” A lot of people though, are curious to hear an album without any artists on it – just beats, instrumentals. Now it’s time to really put that out there. I worked with so many artists, and I love workin’ with ’em. But sometimes it’s good to just do your own thing. I owe it to my listeners.

AllHipHop.com: With the last one, I got the impression though, that it was you trying to sell beats in an innovative way. Is that the case here too?

Ayatollah: Those were just random, pick-of-the-litter tracks that I had. I was letting artists know that, “If you’re an MC – here’s your blueprint.” It was for sales purposes and to give MC’s a canvas. Now Playing is more-so an instrumental album. It’s for listening pleasure. It’s just music. It’s not offensive – it doesn’t have any lyrics. It’s a safe way of putting out music. When you get an artist on the track, who knows what he or she is gonna say? The track can become really vulgar.

AllHipHop.com: Are you often offended by some of the lyrics that have been added to your tracks?

Ayatollah: I’ve seen it in a couple cases. I can’t knock the lyricist for his or her creative need. I let them do what they do. At the end of the end, as long as it’s an official song, I’m happy with it.

AllHipHop.com: J Dilla has Donuts coming out, 9th Wonder has a project in the ’06. Is it getting competitive for producers to deliver these sort of albums? I got yours and Dilla’s on the same day. I was comparing the two. I preferred yours more, but maybe that’s because we’re from the same region. I think geography plays a role…

Ayatollah: I definitely feel what you’re saying. With producers, where you’re from definitely plays an important role. You take all that in, it just comes out in the beats. I’m from Queens – the “rotten apple”. You got good stuff in New York City, and foul stuff. I know that, and I try to incorporate that into the music. I try to give you both sides of the spectrum. It’s not all sweet. I bring out the most criminal minded side, and I can show you the most beautiful side of New York too.

AllHipHop.com: You have a song on the album, “Highway to Heaven”. It’s real different. It kinda sounds like Bjork or something. As different as it is, I think that falls under that beauty with which you speak.

Ayatollah: Yeah, that’s a really dope track – I can’t even front. Sometimes I wish I was an MC. It’s very, very – not even Hip-Hop, just something different. Sometimes, I don’t like to keep myself pigeon-holed. I love Hip-Hop. I just like to expand and go a little further.

AllHipHop.com: How emotionally connected are you to your work?

Ayatollah: When I make beats, first of all, I make sure that nobody’s in my circumference. It’s really personal for me. My lady, I make sure she’s out and about. When she leaves, I go into my mantra mode. It could last thirty minutes, it could last the whole day. It’s all in my moods too. Mood has a lot to do with it. If I’m having a cool day, I’ll make an easy-going type of track. If I’m having a bad day, I’ll make something really aggressive, or thoughtful.

AllHipHop.com: Critics have a way of crediting Kanye West and Just Blaze right now for innovating the vocal sample, or “Chipmunk Soul.” I look at RZA’s work in ’94 with records like “Tearz” or your work in the late 90’s, and I’m not so sure. What are your thoughts?

Ayatollah: To be honest with you, to be really real – I got love for all those dudes, but I do have more of a love for the core bringers of that genre of Hip-Hop production. I prefer them to the now producers. RZA, he’s one of the essences. Diamond D, Large Professor, Marley Marl, Lord Finesse, Pete Rock, Preem, I have a really strong admiration to those guys. They know how to do it. Some people can do it correct, and some people can do it – but it doesn’t hit the bull’s eyed like it’s supposed to. You gotta be shootin’ for the bull’s eye, not close to it. I try to pinpoint it. I hit the red. A lot of people I’m hearing now aren’t hittin’ the red.

AllHipHop.com: We interviewed The Heatmakerz last year, Rsonist said that after he lifts from a record, it’s useless to him – he can step on it. That may embody the differing attitudes from the veterans to the newer guys…

Ayatollah: What you just said right there, kinda tells me a lot about their appreciation for old Soul records. How can you do something like that when you just made X amount of dollars of that record you just sampled? That’s really, really disrespectful.

AllHipHop.com: There was a summer in my life where “All Massive” by [Smif-N-Wessun’s] Tek was just played non-stop at parties, at home, everywhere. He just re-released it on a mixtape. But looking at the past, tell me about that record…

Ayatollah: [laughs] It’s really crazy how that record came about, man. A friend of mine had a start-up, independent label [Windmill Records]. He was running that out of his basement. He had a studio there. He went to school with Tek and Steele of Smiff n’ Wesson in Brooklyn. He was runnin’ around with them when they were like in Decepticons – not even music, just bangin’, wylin’ in the streets. Long story short, I came in the crib one day and Tek was there. He heard the beat, and we just recorded it. We took it to Fat Beats and they were like, “Yo, we gonna put this s**t out!” It was just like that – not even too much thought. Just ABC, boom boom boom.

AllHipHop.com: You mentioned Marley Marl earlier. In a feature in Elemental magazine, you said you started with Marley Marl’s MPC, that’s true?

Ayatollah: I didn’t start with his actual MPC, it was one of his MPC’s. Marley has every piece of equipment. At the time, I had equipment already. But I was limited with the stuff I could do. Marley had looked out, came through, no doubt. He heard what I was doing, and he liked it. But he was like, “Damn, this dude could do so much more if he had a real drum machine.” He just gave it to me. I just got really at it – I haven’t changed, I have the same Akai drum machine. If it ain’t broke, don’t fix it. [laughs]

AllHipHop.com: Tragedy really seemed to have been another mentor…

Ayatollah: Mobb Deep, Capone-N-Noreaga, I met those guys through Tragedy. The whole Queensbridge side, I met them through Trag. At the end of the day, he’s the reason I met Cormega. I had no links to anybody in the Bridge. I was from Jamaica Queens, Trag was from Queensbridge. It’s not far, but I had nobody out in the Bridge – and if you don’t know anybody out in Queensbridge, you don’t go. Now, I can go. It’s cool. I got the ghetto pass. Before, no. New York is funny. There’s certain places you can and can’t go without the pass. Now, I’m good.

AllHipHop.com: You were rumored to have a full album with Cormega. Any update?

Ayatollah: Mega’s a busy guy. He does a lot of shows and things. He lives far away from where I’m at too. It’s hard. But we’ll do it! It may take a while.

AllHipHop.com: Every producer has that one calling-card. After “Ms. Fat Booty”, what doors opened up for you?

Ayatollah: A lot! I was doing a lot of stuff at Rawkus Records. After that record was successful, a lot of other Rawkus artists really started checkin’ for me. Pharoahe Monch, Talib Kweli, Skillz, me and [Kool] G Rap – everybody started working with me. It was an influx of work. I’m still workin’ a lot, but if it wasn’t for that – damn!

AllHipHop.com: When they kinda tapered off at MCA/Geffen, did it affect your career?

Ayatollah: When they were doing that transition at Geffen, I didn’t know what was really going on. I was in a cloud of smoke. I found out the bad news at Rawkus at the last minute – I was the last one to know. I’m just glad to see they’re getting it back on the runnin’. Me and [founders] Brian and Jarret were cool, and they appreciated my sound, and weren’t afraid to put that out to the masses. I really appreciate that. A lot of cats were really hesitant.

AllHipHop.com: One last Rawkus question. “My Life” with Styles P and Monch meant so much to Hip-Hop in 2002. Monch had twice the career, in terms of seniority as Styles P. As a producer, were you the one who asked the wise veteran to sing the hook and let Styles do the rapping?

Ayatollah: I had somethin’ in that, but moreso it was the label. They were the ones cuttin’ the check. When we were in the studio, Pharoahe was like, “‘Tollah, what you think of this chrous?” I said, “That’s great. That’s it!” A lot of people wanted Pharoahe to rhyme on it. Pharoahe was like, “Nah, I’m just gonna do the chorus.” I think it worked. That’s timeless music. If you throw it on in a club now, it’s gonna get people movin’ just as much as a G-Unit record like, “Oh, s**t!” It was showing Hip-Hop that you could work an “underground” artist and a “mainstream” artist mesh together, and bang universally. Everybody kinda caught that wave, after.

“My pops was a DJ, so I was always around it,” Floyd begins, while explaining his whole inception into music. “I really became interested when I first heard The Sugar Hill Gang — I was like four or five.”

Hailing from Fitzgerald, Georgia, Floyd grew up on the 1960s and 70s era Jazz, Soul, and Funk sounds that were emitting from his father’s record crates. Even from a very tender age, it was only inevitable that he, too, would one day follow in his dad’s footsteps. “Yeah, that was always in the plans,” he says very matter-of-factly. “Around 1992, 1993 [is when I started to pursue music professionally].”

“I would call it [my style] traditional Hip-Hop music,” Floyd answers, when asked to describe his overall sound and style. “As far as production, I was inspired by cats like Marley Marl, definitely DJ Premier, Pete Rock, DJ Magic Mike, DJ Smurf [today, “Mr. Collipark”], (and) all the DJ [producers].”

On the derivation of his unique monicker, the Locsmif had this offer, “When I first started growing dreads, being from South Georgia you have to have an off beat, down South name.” Reiterating, “Like I had to be a locksmith, and kinda open up the minds of some of these cats from around my area.”

In 2004, Floyd the Locsmif entered the mixtape game with his critically acclaimed, “Outskirts: The Unofficial Lost OutKast Remixes,” which helped set the stage for his anticipated recent follow-up, the instrumental driven, Divine Dezignz #1: Discovery. This well received project garnered the attention of several of his industry friends and peers, thus enabling him the opportunity to work with many of these great MC’s. His impressive clientele already includes Dungeon Family alum, Cee-Lo Green, veteran D.I.T.C. member, O.C., underground fave, J-Live, and up’n’comers, Swamp Headz, Stahhr tha FEMCEE, Sol Uprising, 4IZE, of Disturbing the Peace fame, John Robinson, a.k.a. Lil? Sci, as well as Platinum Pied Pipers? Waajeed, and Mellotone Recordings artist, Fantab, & CYNE. This pletherora of talent has given Floyd resonance in the candy-painted Caddy’s of Georgia, as well as the stereos of the Five Burroughs in New York. The diverse resume reflects the versatility in Floyd’s technique, and perhaps his mass appeal.

His latest release, Divine Dezignz #1.2: Re-Discovered, is in stores now, and his greatest achievement to date has just recently occured. “I had a chance to work with 50 Cent on video game [Bulletproof],” Floyd announces loudly in his usually soft spoken voice. “The song that I did was nominated for a Spike TV video game award, and it won. So, that’s the highlight for this year.” Locsmif’s contribution to Fiddy, “Maybe We Crazy”, took home best original song at this year’s gala. Though not yet a Grammy, the accomplishment serves as a token to Floyd’s hard work, and a momentum of his collaboration with one of Hip-Hop’s biggest names.

“I definitely want to get into writing some movie scores,” Floyd foresees, when asked what’s next for the young aspiring ingenue. Expounding, “I got a label, In The Loop Recordings, so I definitely got a lot of artists around my area that I’m gonna bring to the game. I might even get into the acting thing.” Clearly, Floyd is somebody who constantly challenges himself, and tests a seemingly formidable work-ethic. For 2006, a year that follows such a definitive twelve-months in Floyd Da Locsmif’s life, the Georgian professes, “I see myself becoming a mogul.” With a label, an album, and an award-winning collaboration with the G-Unit mogul, anything’s possible.

“A new producer’s on the rise? and you don’t want a problem with this guy.” No, really. The only thing slightly problematic nowadays is the overbearing corporate machine in the world of Hip-Hop music. One guy’s story combats this errie tradition.

Needlz has a new sound and an old soul to break his own brand of Funk down. The Michigan native and former Bad Boy intern has supplied heat for gangstas like 50 Cent and Young Buck while also juicing Talib Kweli’s latest banger, “Drugs Basketball & Rap”. Needlz brings a humble demeanor and focused work ethic to the game. The New Musician is here with AllHipHop.com to give a tutorial to young producers and bring Hip-Hop’s sound back to its essence.

AllHipHop.com: A lot of the veteran producers are criticizing your generation as “beat-makers”, not “producers.” To you, what is the difference between a producer and a beat-maker, and where do you fit?

Needlz: Well, a producer is more hands-on in the studio, guiding the artist through the song-making process, while a beat-maker submits beats or instrumentals and waits on a phone call. I’m a combination of both; sometimes I submit beats while other times I work with cats and I’d love to be able to do more of the hands on producer work?

AllHipHop.com: You get a better vibe in the studio when the producer is working with the artist?

Needlz: It would be, but that hasn’t been the case. With the exception of established cats getting a lot of work like Dre and the Neptunes, who can take time to work with the artists, most cats on the come-up, like in my situation, have to balance between both. And nowadays with Protools and things like that, people can just make the track on their own.

AllHipHop.com: In your opinion, do you think there’s a difference in the skill level between producers sampling as opposed to playing instruments?

Needlz: Skill level, nah. I don’t know how to play any instruments, but I know how to put stuff together. I’ve been around musicians who can kill it on a keyboard, but when they try to make a beat, it’s trash. Of course I want to learn how to play the keys, it would help overall, but if you have the gift to make people’s head move, then you’re good. The skills of knowing how to play an instrument are equal to that of making a beat.

AllHipHop.com: 2005 has been a big year for you. For all those new to Needlz, can you give readers a summary of your entrance into the industry?

Needlz: I started out as an intern at Bad Boy. While I was going to grad-school at NYU, some dudes were shopping my tracks on the low and it ended up on the desk of an A&R at Def Jam who worked with DMX, Redman and Method Man. She happened to be an NYU alum, liked my work, we met up, and hit it off. She’s responsible for 95% of my music getting out there, from work with Ruff Ryders to BET. It also led to me working with G-Unit, Young Buck’s ” Let Me In” and 50 Cent’s “Piggy Bank” and “God Gave Me Style.”

AllHipHop.com: Yeah that “God Gave Me Style” joint is one of my favorites, the other side of 50?

Needlz: Yeah, I wish that would have really come out.

AllHipHop.com: Can you go into detail about your experience as an intern at Bad Boy and the value if any you got from it?

Needlz: It was valuable because while I was in school interning, my major was music business. I wanted to be an A&R and work on the business side of the music industry. When I started interning at Bad Boy, I found out that I didn’t want to work for anyone. I’m a cat with a degree getting coffee and french-fries for dudes, and that was wack. But at the same time, I was steady grinding and making beats.

AllHipHop.com: You’ve recently produced a really big controversial track on one of the best selling albums in 2005. What was it like working with 50 cent and G-Unit?

Needlz: I haven’t had any problems at all. It’s a situation where they picked unknown beats off of a CD, which is cool because it shows that my stuff stands out.

AllHipHop.com: With them being the big dogs in the game, it’s a huge compliment to you that they would choose your music as the soundtrack to their story.

Needlz: Definitely. It’s been a good look working with them, I can’t complain. They kind of put me on the map.

AllHipHop.com: How do you feel about beef on wax in rap music?

Needlz: It is what it is. I’m a laid back person, I don’t really get into any of that. It’s just another part of Hip-Hop.

AllHipHop.com: Right, been around since the beginning. What are your feelings on the state of Hip-Hop music today?

Needlz: I find myself not really listening to that much rap anymore. No one’s really doing anything different. It’s pretty much the same song. If I buy a CD, I’m checking for the other producers because I know what the rappers are going to say.

AllHipHop.com: Producers are coming up in a real way.

Needlz: That’s the reason. The majority of rappers are talking about pushing drugs, “I got this much money, I f**k this many girls.” That’s basically what it is and to me there’s more to life than that, more to Hip-Hop than that. It’s cool if folks talk about that, just do it in a different way. I aint trying to sound like the mad producer though?

AllHipHop.com: I’m sure there are good amounts of people that share the same sentiments. What does Needlz bring to the table?

Needlz: On the low, I’m getting ready to introduce artists that aren’t on the same tip, bringing something different to the table. New York’s been rocking with the same cats for so long, we really need something fresh.

AllHipHop.com: How would you describe your sound?

Needlz: It’s like an oxymoron: clean and dirty at the same time. I’m really picky with the sounds I choose, from the high-hat to the snare. As I start to make a beat, I try to stay away from what sounds regular. That’s how I’ve developed.

AllHipHop.com: Interesting. Are you a family man?

Needlz: If I could, I would be at home chillin’ with my fiancé and daughter. I’m not too big on clubs or parties, I rather be at home making beats and chillin’. At the end of the day, I gotta put food on the table and bring money in.

AllHipHop.com: You’ve got your priorities together. Does having a family impact or influence your music?

Needlz: When my daughter was born, my career took off. It was a blessing. My girl isn’t really into it as much, and that provides the balance.

AllHipHop.com: What was the Hip-Hop scene like growing up in Michigan?

Needlz: Hot! We listened to everything, East Coast, West Coast, Booty music and House. We really respected it and I was a big East Coast fan. DJ’ing in high school, and having the new music first was a cool experience. To have the Nas album, [Raekwon’s] Purple Tape?

AllHipHop.com: Do you still get the DJ itch from time to time?

Needlz: Yeah no doubt! I haven’t bought records in a minute. I spin MP3s. I’m really looking for a spot where I can spin early 90’s Hip-Hop records.

AllHipHop.com: Which MC’s and or producers inspired you coming up, and why?

Needlz: The RZA is definitely underrated; he’s one of the illest! He created the whole Wu sound and movement. Back then producers didn’t have as much shine and he never got the recognition he deserved. Man, cats like Just Blaze, Premier, Dilla, Nottz, Havoc. I’m a fan and I listen to all of these cats. When I first started, I used to sit down and study Premier. He brought a lot to the game.

AllHipHop.com: DJ Premier is certainly a pioneer and veteran in Rap music. How did “Drugs Basketball & Rap” come about?

Needlz: 88 keys brought me down to the studio and put me onto Talib Kweli. I gave him a beat CD and got called back. I really like that beat, and a lot of artists passed up on it. A lot of beats people pick aren’t my best beats, but at the end of the day it’s not about me, it’s what they like. It was something that happened real quick and I’m glad he picked that beat cuz the track came out cool.

AllHipHop.com: Anymore Kweli or G-Unit collabos in the future?

Needlz: Yeah I talked to Talib last week, and he picked out some joints. I got a joint with Lloyd Banks featuring Prodigy.

AllHipHop.com: So are you officially in the G-Unit system?

Needlz: I guess you can say that, but I’m not signed to them. I got a lot of love for them cats. Props to Sha Money and D Prosper!

AllHipHop.com: That’s a good look. Who else are you working with at the moment?

Needlz: Corey Gunz, Rich Boyz, and Sharifa. I’m really hoping people embrace Lupe Fiasco; he’s one of the dopest MC’s out there. I’m trying to put together this super-group from New Jersey. Its kind of hard bringing three different solo artists into one group, but it’s something I’ve always wanted to do. There are not a lot of hot groups out there and I think it’s ill when artists bring different energy and a unique voice to the booth. It’s like having three different songs on one track.

AllHipHop.com:You’re rumored to have a band in the works? Is it Rock?

Needlz: It’s not really a Rock band. It’s an R&B singer and myself and we’re doing some next level, soulful R&B s**t. The Gutta Fam is the name of the [New Jersey] conglomerate. It’s an old school vibe with some Hip-Hop flavor.

AllHipHop.com: Definitely keep us posted. You got a lot of new music that we’re going to be checking for. That’s what’s up. Scanning the history of Hip-Hop, what artist would you most like to work with, dead or alive and why?

Needlz: I don’t really deal with a lot of what if’s. I mean, if Biggie and Pac were alive today, things would be a lot different. A lot of artists might not be as hot. I might not even be here. My favorite rapper has always been Nas. I’m a big Nas fan.

AllHipHop.com: What do you think about the new alliance between Nas and Jay?

Needlz: I think it’s dope. That’s the best s**t to happen this year. I heard that they might do an album and I hope it happens. The South is really bubbling right now and I love it, but there needs to be some balance. We need some more East coast influence in the game. It’s weird listening to the radio in New York nowadays. I don’t know where I am sometimes. I love that s**t, got no problems, I’ve done stuff for Ludacris and a lot of other Southern cats. I just think the game needs some more balance.