What’s your current parole status? Can you tour and continue to promote your music, or are you limited in terms of what you can do? I could go back to prison for inciting a riot, you know. I’m not in a position to do that with me being on parole. No, I haven’t had a chance to speak with the people who are organizing the protests and all that. Have you had a chance to speak with any of the Ferguson protestors since you’ve been released? So when they’re protesting, they’re listening to music – “Fuck the Police” – and they speaking. And I’m speaking for other people who can’t speak. Right, because I’m the only one that speaks so directly about the situation. Y’all the ones that just woke up.Īt the same time, it must be heartening to see people adopt your music as a way to speak out about their situation. It’s just now that people got cell phones to catch ’em at fault. I’ve been speaking against dirty police that’s been committing these crimes. No, I wasn’t surprised at all to see my music get played at Ferguson, because I’ve been speaking against the cops. Were you surprised to see your song “Fuck the Police” get played so much during the Ferguson protests last year? In Louisiana, I’m like a store burning: I stand out. I’m the voice of a lot of people, and I’m going to speak my mind about it. If it’s going down, I feel like I’m the one that needs to talk about it. What goes on in this world, I talk about it. The stuff I speak about, like the Ferguson shit, that’s a part of me being an artist. They’re not necessarily concerned about social issues. What motivates you to be that voice? Obviously, a lot of rappers just talk about the good life or what they’re going through personally. Matter of fact, I was seeing Michael Brown getting shot down. One morning I woke up, I was seeing it on TV.
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What inspired that song was turning on the TV and seeing blacks being shot down. On the last song on the album, “Sorry,” you shout out Michael Brown and Trayvon Martin. That’s how I came about with “Black Heaven.” I wanted a deep song that would touch people and let people know that there’s versatility in me as far as making music as a whole. So I just started going through beats, and when that beat came on, I said I’m gon’ make it big, I’m going to write about all the black people, all the black giants that we lost, all the heroic people that we lost. Well, “Black Heaven” came about when I was riding down the interstate, listening to 2Pac’s “Thugz Mansion.” And after I said, I want to make a deep song, man. But I’m closer to God than I’ve ever been.Ĭan you talk about the song “Black Heaven”? No, I ain’t gonna lie: I ain’t been going to church.
It was one of those records where I had to face that I was wrong for most of the things I did in life. It was the second record I recorded when I came home. On your album, you have a song, “Mercy on My Soul,” where you talk to God. He’s got his lawyers together and I think he’s going to see the streets again, and we waiting on him. Louisiana is a cold place as far as putting people in prison. Of course, they’ve got him on a bad case. I think he just got the Robert Shapiro law firm, so it’s looking good for him. What are your thoughts on C-Murder’s situation? We recorded a mixtape on a tape recorder in jail, in the bathroom. When I was in jail, I was recording mixtapes with C-Murder, too. I wrote “I’m Sorry,” that’s on the album, “Window in My Eyes.” Everything else was written after my release. And I recorded everything when I got out. I wrote a lot of songs while I was in prison. ĭid you write any of the new album while you were still incarcerated? That was just an album that was put together. It might have had one or two songs on it. You gotta understand that the Incarcerated album, it came out in 2010? Well, that music was done in 2006. That’s because I was in a different place. It seems like this one has a lot of optimism and hope in it.
Your previous album, Incarcerated, was much darker than this one. Flashback: Tina Turner Covers Dolly Parton, Kris Kristofferson on Debut Solo Albumīlack Sabbath on the Making of 'Vol.
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