Certified Banger: Alright? How’s it going?
CW: I’m good; the glass is always half full! I got the 12” out, album on the way, all produced by ‘Brutal Artistry’ may I add, and I’m rolling with an ill label, ‘Don’t Talk To Strangers’ - things have never been better.
CB: Let’s talk about your 12” then. What’s it called? What’s the thinking behind the orange vinyl – why is it orange and why is it vinyl and not just download or CD?
CW: ‘Sunday Service’ is the name of the first release. The thinking behind the vinyl (let alone the vinyl being limited edition orange vinyl) was that a classic product. Since I was a teenager my dream was to have my own vinyl, I want more already, it’s like having you’re own comic book printed and the story board is about you. It’s just a classic, traditional method of releasing material. Me and Brutal Artistry and DTTS as a label all want to practise the art form traditionally; anyone can release a download, some people put one out each week and that’s fine but we want our product to be permanent, we want you to be able to pick it up and be fascinated with it, not just put it on your ipod and it fall into years of endless un-listened music. We want you to use it as it was designed to be used classically! Anyways, vinyl’s still the new cool - all the kids are getting back into it. Trust.
CB: Are you cooking up any other ways to bring more desirable and exclusive ways of releasing music to this digitally obsessed age?
CW: Yes, But I’m not permitted to say at this point. That’s confidential, too many biters about. I’ve learnt to keep things locked ‘til it’s time for them to take cause. You’ll be the first to know though when ‘the desirables’ are ready.
CB: Tell us about the tracks on there. Why is the title track called ‘Sunday Service’?
CW: Ahh, the ‘Sunday Service’ thing is, me and Brutal Artistry used to link at Def Row studios on a Sunday morning cause I work long ass hours and it was the only time we could both link - once a week guarantied. I’d write all week and BA would be making beats then we would meet at the end of the week and record some vocals or just have a jam. After a year or so of this we started to merge with DTTS as a label and all the artists on the label started coming through on a Sunday morning. It then became known as Sunday Service; just as a joke at first, but then it became relevant and we embraced it. ‘Sunday Service’ is important to me, because nearly every track on my album was recorded at Sunday Service - all three tracks on the single were recorded or mixed at Sunday Service. All business, all the social networking I do is built up of Sunday Service once a week. It’s what I look forward to every other day of the week, it embodies the ideology of living a life of hip hop, for me, once a week coming together with your crew or clique to either chill, make music, kick a cipher, chat some business, or just catch up on what’s going on - treating it like a religion.
As for the track itself, ‘Sunday Service’ is a summarisation of all that, “timing is of every importance”, the time’s gotta be right for everything, recording, writing, practising, ciphering, timing of life, it ain’t luck, just good timing, believe, the track is a chilled out and has a old school vibe, slower lyrics to what I’m known for, yet still complex in the patterns of flow. BA’s beat reminds me of a relaxed Sunday morning.
The rest of the tracks on the single are taken from my self titled album, coming at the beginning of 2010. ‘Don Style’ and ‘DSB’ - both of them are working titles. ‘Don Style’ speaks for itself; a double-time tempo, again an old school vibe, featuring Shamain Pierre, an ill vocalist outta Bradford. Her style works well with my sound. It’s a message track, the lyrics are deep. ‘DSB’ stands for ‘Dirty Stinkin’ Beat’, this is a dark track with a question/answer style flow, complex lyrics with a twist of fantasy, and frustration – it’s very, very bassy. Personally, I think BA has killed it, the production on all three tracks is amazing, but ‘D.S.B’ is ill.
CB: The tracks on this 12” have a heavy but laid back old school feel to them – are we to expect more music like that or do you have more styles up your sleeve?
CW: Definitely more styles, I think the laid back old school feel is my influence and maybe even just the way I am. Don’t forget, all the production’s by BA. His style is always heavy. I like the sound of the music me and BA are making at the moment - standard! But we are always trying new ideas, different genres of music and Hip Hop; wait till you hear the album - a track named ‘Many Man’ featuring Bane of ‘No Pretense’. It’s not what you’d expect from me, Bane maybe? But not me.
I feel at home on most BA productions; he understands the style and sound I embody, so I think my music will always have a distinct sound to it even if we do step out of the comfort zone. You’ll always know if it’s a Chief Wigz track. We try and capture a classic sound.
CB: Yeah it’s true, you do have a distinctive sound. So that’s what you’re up to now. How did you get to this point now as an artist? Give us a bit of history.
CW: There’s too much so I’ll start mid-point with 9-Lives Clik, which like a phoenix, was born out of the ashes of Dr Wu’s. 9-Lives was my first crew that I used to roll with and still do but it’s taken a back seat for a minute while other members concentrate on other ventures. I had to focus, and other people were on some next tings so I got on with my own music. It doesn’t stop just because you’re not making music with the same people you always have done - gotta accept change an embrace it, not run in fear. I looked for other outlets; nothing was about, ‘til one night I met BA in Dewsbury, when 9-lives was playing ‘Break North’. We exchanged numbers andhe later brought me some beats up to a fish and chip shop I was working at. Next thing we recorded and began thinking bout putting an album together. I was tired of gigging in the same venues, lost enthusiasm for performing an just wanted to record music, that’s still where my passion lies. Back then I had just put out ‘Never Speak Ill of The Dead Vol 1’ and I wasn’t feeling it. I didn’t feel I had a solid backlog of music - just a few half arsed tracks. Even though I’d worked hard to get them few half arsed tracks they weren’t what I expected they would be, not for the amount of work I put in so I just wanted to stay in the studio and record when ever I could, perfect my style and enjoy what I was doing instead of stressing about it. I’m still in that mind frame now but that’s why I’ve got backlogs of material ready to release. I feel happier knowing that I’ve put the work in and earned what I’ve created instead of just settling for second best. Iain’tgot time to waste anymore, I’m getting on.
Anyways, Me and BA used the same studio as No Pretense and they started using BA productions too so they were hearing my material and let the label listen, we all got on well an through mutual love and appreciation we decided it would be good to put my music out through DTTS which brings us to the present day with my first single release ‘Sunday Service’ which I believe is the most solid work I’ve done to date. I’ve put the work in to get to where I feel proud of it; it took time and it couldn’t have been achieved with out a strong team around me… props to BA.
CB: I remember that the first time I saw you was at Dr. Wu’s in Leeds – that was years ago and that little place has shut down now. What’s good on the Leeds scene now?
CW: You’re asking the wrong guy really. I don’t keep up with what’s going on, I don’t really go out in Leeds, or consider my self part of the scene. I think if you asked the crews on the Leeds scene now they would say the same: I ain’t been about much for the past year or two. I do know what the old Leeds scene was like and the present Leeds scene seems far more productive than its predecessors. I seems that Leeds, in its present state is the catalyst for some of the freshest Hip Hop coming out of the UK at the moment (though I don’t like labelling it as UK Hip Hop, it’s Hip Hop whatever genre of Hip Hop). I look online at Certified Banger, Suspect Packages, etc and I see Leeds artists; Leeds crews making solid products for Hip Hop heads to go get. It’s not just in Leeds - it’s Bradford, Huddersfield - Yorkshire as a whole. We are all getting our acts together and doing it properly. The old Leeds scene never accomplished this and if it ever did, it was only a few who took it to that platform, and even if they did, they didn’t bring the scene with them. It’s clear to me whenever I am in Leeds that the scene is unified, that there are some cliques that are holding it down consistently. Although I ain’t in Leeds much, I’m proud to say I’m from Leeds. I’m glad to say my passion for music and Hip Hop started there and it continues to do that for the many man that come before and after me - Leeds Hip Hop scene is ill!
CB: You mentioned 9Lives and that it’s still going on in the background. What’s happening with your partners in rhyme right now?
CW: 9-Lives is still very much alive and kicking it. Proptic’s ‘Dark Cloud Project’ is coming soon via DTTS and 9-Lives is working, as we speak, on a 4 track EP again released by Don’t Talk To Strangers - there maybe a guest appearance of the strayed Eliphino (producer) on there but you’ll just have to wait and see - no promises. Optic runs Leeds mate! He knows everything going on, and knows everyone, never sleeps that guy, always up to something. 9-Lives never dies.
CB: We’ve talked present and past – what does the future hold for Chief Wigz?
CW: Hopefully more releases through DTTS. I’ve got ‘Never Speak Ill Vol 2’ done, so after the album release, we should be able to drop that too but DTTS have so many releases dropping this year or next it might be a while for that - 2010 definitely though. Expect the self titled album ‘Chief Wigz’ early 2010. Also I’m featured on numerous albums and projects - we have been working hard the last two years. The future is Don’t Talk to Strangers.
CB: Wrap it up with anything you feel like:
CW: Please support all the DTTS artists. We’ve all got releases dropping at the beginning of 2010 - classic Hip Hop on a global scale from the Yorkshire district and beyond. Don’t Talk To Strangers, Chief Wigz ‘Sunday Service’ 12” vinyl available at dtts.bigcartel.com, self titled album coming soon 2010 produced entirely by Brutal Artistry. For all other DTTS past and future releases visit Myspace/dtts or check out all good hip hop sites i.e. Certified Banger! Props CB, thanks for the time.
CW: I’m good; the glass is always half full! I got the 12” out, album on the way, all produced by ‘Brutal Artistry’ may I add, and I’m rolling with an ill label, ‘Don’t Talk To Strangers’ - things have never been better.
CB: Let’s talk about your 12” then. What’s it called? What’s the thinking behind the orange vinyl – why is it orange and why is it vinyl and not just download or CD?
CW: ‘Sunday Service’ is the name of the first release. The thinking behind the vinyl (let alone the vinyl being limited edition orange vinyl) was that a classic product. Since I was a teenager my dream was to have my own vinyl, I want more already, it’s like having you’re own comic book printed and the story board is about you. It’s just a classic, traditional method of releasing material. Me and Brutal Artistry and DTTS as a label all want to practise the art form traditionally; anyone can release a download, some people put one out each week and that’s fine but we want our product to be permanent, we want you to be able to pick it up and be fascinated with it, not just put it on your ipod and it fall into years of endless un-listened music. We want you to use it as it was designed to be used classically! Anyways, vinyl’s still the new cool - all the kids are getting back into it. Trust.
CB: Are you cooking up any other ways to bring more desirable and exclusive ways of releasing music to this digitally obsessed age?
CW: Yes, But I’m not permitted to say at this point. That’s confidential, too many biters about. I’ve learnt to keep things locked ‘til it’s time for them to take cause. You’ll be the first to know though when ‘the desirables’ are ready.
CB: Tell us about the tracks on there. Why is the title track called ‘Sunday Service’?
CW: Ahh, the ‘Sunday Service’ thing is, me and Brutal Artistry used to link at Def Row studios on a Sunday morning cause I work long ass hours and it was the only time we could both link - once a week guarantied. I’d write all week and BA would be making beats then we would meet at the end of the week and record some vocals or just have a jam. After a year or so of this we started to merge with DTTS as a label and all the artists on the label started coming through on a Sunday morning. It then became known as Sunday Service; just as a joke at first, but then it became relevant and we embraced it. ‘Sunday Service’ is important to me, because nearly every track on my album was recorded at Sunday Service - all three tracks on the single were recorded or mixed at Sunday Service. All business, all the social networking I do is built up of Sunday Service once a week. It’s what I look forward to every other day of the week, it embodies the ideology of living a life of hip hop, for me, once a week coming together with your crew or clique to either chill, make music, kick a cipher, chat some business, or just catch up on what’s going on - treating it like a religion.
As for the track itself, ‘Sunday Service’ is a summarisation of all that, “timing is of every importance”, the time’s gotta be right for everything, recording, writing, practising, ciphering, timing of life, it ain’t luck, just good timing, believe, the track is a chilled out and has a old school vibe, slower lyrics to what I’m known for, yet still complex in the patterns of flow. BA’s beat reminds me of a relaxed Sunday morning.
The rest of the tracks on the single are taken from my self titled album, coming at the beginning of 2010. ‘Don Style’ and ‘DSB’ - both of them are working titles. ‘Don Style’ speaks for itself; a double-time tempo, again an old school vibe, featuring Shamain Pierre, an ill vocalist outta Bradford. Her style works well with my sound. It’s a message track, the lyrics are deep. ‘DSB’ stands for ‘Dirty Stinkin’ Beat’, this is a dark track with a question/answer style flow, complex lyrics with a twist of fantasy, and frustration – it’s very, very bassy. Personally, I think BA has killed it, the production on all three tracks is amazing, but ‘D.S.B’ is ill.
CB: The tracks on this 12” have a heavy but laid back old school feel to them – are we to expect more music like that or do you have more styles up your sleeve?
CW: Definitely more styles, I think the laid back old school feel is my influence and maybe even just the way I am. Don’t forget, all the production’s by BA. His style is always heavy. I like the sound of the music me and BA are making at the moment - standard! But we are always trying new ideas, different genres of music and Hip Hop; wait till you hear the album - a track named ‘Many Man’ featuring Bane of ‘No Pretense’. It’s not what you’d expect from me, Bane maybe? But not me.
I feel at home on most BA productions; he understands the style and sound I embody, so I think my music will always have a distinct sound to it even if we do step out of the comfort zone. You’ll always know if it’s a Chief Wigz track. We try and capture a classic sound.
CB: Yeah it’s true, you do have a distinctive sound. So that’s what you’re up to now. How did you get to this point now as an artist? Give us a bit of history.
CW: There’s too much so I’ll start mid-point with 9-Lives Clik, which like a phoenix, was born out of the ashes of Dr Wu’s. 9-Lives was my first crew that I used to roll with and still do but it’s taken a back seat for a minute while other members concentrate on other ventures. I had to focus, and other people were on some next tings so I got on with my own music. It doesn’t stop just because you’re not making music with the same people you always have done - gotta accept change an embrace it, not run in fear. I looked for other outlets; nothing was about, ‘til one night I met BA in Dewsbury, when 9-lives was playing ‘Break North’. We exchanged numbers andhe later brought me some beats up to a fish and chip shop I was working at. Next thing we recorded and began thinking bout putting an album together. I was tired of gigging in the same venues, lost enthusiasm for performing an just wanted to record music, that’s still where my passion lies. Back then I had just put out ‘Never Speak Ill of The Dead Vol 1’ and I wasn’t feeling it. I didn’t feel I had a solid backlog of music - just a few half arsed tracks. Even though I’d worked hard to get them few half arsed tracks they weren’t what I expected they would be, not for the amount of work I put in so I just wanted to stay in the studio and record when ever I could, perfect my style and enjoy what I was doing instead of stressing about it. I’m still in that mind frame now but that’s why I’ve got backlogs of material ready to release. I feel happier knowing that I’ve put the work in and earned what I’ve created instead of just settling for second best. Iain’tgot time to waste anymore, I’m getting on.
Anyways, Me and BA used the same studio as No Pretense and they started using BA productions too so they were hearing my material and let the label listen, we all got on well an through mutual love and appreciation we decided it would be good to put my music out through DTTS which brings us to the present day with my first single release ‘Sunday Service’ which I believe is the most solid work I’ve done to date. I’ve put the work in to get to where I feel proud of it; it took time and it couldn’t have been achieved with out a strong team around me… props to BA.
CB: I remember that the first time I saw you was at Dr. Wu’s in Leeds – that was years ago and that little place has shut down now. What’s good on the Leeds scene now?
CW: You’re asking the wrong guy really. I don’t keep up with what’s going on, I don’t really go out in Leeds, or consider my self part of the scene. I think if you asked the crews on the Leeds scene now they would say the same: I ain’t been about much for the past year or two. I do know what the old Leeds scene was like and the present Leeds scene seems far more productive than its predecessors. I seems that Leeds, in its present state is the catalyst for some of the freshest Hip Hop coming out of the UK at the moment (though I don’t like labelling it as UK Hip Hop, it’s Hip Hop whatever genre of Hip Hop). I look online at Certified Banger, Suspect Packages, etc and I see Leeds artists; Leeds crews making solid products for Hip Hop heads to go get. It’s not just in Leeds - it’s Bradford, Huddersfield - Yorkshire as a whole. We are all getting our acts together and doing it properly. The old Leeds scene never accomplished this and if it ever did, it was only a few who took it to that platform, and even if they did, they didn’t bring the scene with them. It’s clear to me whenever I am in Leeds that the scene is unified, that there are some cliques that are holding it down consistently. Although I ain’t in Leeds much, I’m proud to say I’m from Leeds. I’m glad to say my passion for music and Hip Hop started there and it continues to do that for the many man that come before and after me - Leeds Hip Hop scene is ill!
CB: You mentioned 9Lives and that it’s still going on in the background. What’s happening with your partners in rhyme right now?
CW: 9-Lives is still very much alive and kicking it. Proptic’s ‘Dark Cloud Project’ is coming soon via DTTS and 9-Lives is working, as we speak, on a 4 track EP again released by Don’t Talk To Strangers - there maybe a guest appearance of the strayed Eliphino (producer) on there but you’ll just have to wait and see - no promises. Optic runs Leeds mate! He knows everything going on, and knows everyone, never sleeps that guy, always up to something. 9-Lives never dies.
CB: We’ve talked present and past – what does the future hold for Chief Wigz?
CW: Hopefully more releases through DTTS. I’ve got ‘Never Speak Ill Vol 2’ done, so after the album release, we should be able to drop that too but DTTS have so many releases dropping this year or next it might be a while for that - 2010 definitely though. Expect the self titled album ‘Chief Wigz’ early 2010. Also I’m featured on numerous albums and projects - we have been working hard the last two years. The future is Don’t Talk to Strangers.
CB: Wrap it up with anything you feel like:
CW: Please support all the DTTS artists. We’ve all got releases dropping at the beginning of 2010 - classic Hip Hop on a global scale from the Yorkshire district and beyond. Don’t Talk To Strangers, Chief Wigz ‘Sunday Service’ 12” vinyl available at dtts.bigcartel.com, self titled album coming soon 2010 produced entirely by Brutal Artistry. For all other DTTS past and future releases visit Myspace/dtts or check out all good hip hop sites i.e. Certified Banger! Props CB, thanks for the time.
