Survival

“Musically and conceptually, I’m about survival.” With those words, Del reminds us that unlike most rappers, Del remains musically active, and thus continues to grow. As new musical acts pop up by the hour, even avid music followers can become nearsighted. Many artists, as well as their momentary trends, eventually fade. Yet, there is a middle ground of musicians who have helped set the precedent for present artists, all the while, continuing to progress their own craft for the future.

Atop of this peculiar middle ground sits Teren Delvon Jones, aka Del tha Funkee Homosapien. Prolifically pushing his music for over a decade, from numerous guest spots and collaborative efforts to successful world tours, Del has been diligent in maintaining his longevity. The Oakland native is responsible for such classic LPs as No Need For Alarm, and Future Development, both of which have been earning informal reputations as hip-hop classics since their release in the 1990s.

It is now 2004, and Del sits up in his Bay Area home, studying music theory, smoking bidis, and crafting beats. The catalyst of the celebrated Hieroglyphics collective claims and demonstrates that he is continuously evolving. From the funk-infused I Wish My Brother George Was Here, to the sci-fi ridden Deltron 3030, Del has been able to reinvent himself, while maintaining a sense of traditionalism that is necessary for solid hip-hop. More mature and seemingly more focused than ever, Del proves that patience promotes maturity. On the eve of his upcoming solo effort, The 11th Hour, I was able to catch up with the underground icon, goofy character, and often times dead serious Del tha Funkee Homosapien.

I know you’ve been learning music theory. What can you tell Wax Poetics readers about your thoughts on music production?

Actually, I feel like learning about music theory and applying it towards production has enhanced my rapping. Minus the melody and all that, it’s a rhythmic thing that has basically helped me a lot. Its simply helped me with my expression; how I say certain words, or emphasize different sounds, know what I’m saying? People are trying to bring samples back, and I think that’s hella cool. At first, I didn’t want to sample. If I liked something, I wanted to be able to play it. But now I understand more about music and I incorporate both. I mean, when I first started producing, I tried to imitate samples and play them myself. As time went along though, I realized I had to learn about music. Now, I can actually play the “Funky Drummer” break, rather than sample it because I understand the real feel behind it. It’s really fun. I think I have better control over my music now basically.

What specifically are you trying to accomplish as a producer, rather than a rapper?

I’m trying to make hip-hop broader, without losing that raw edge. I want it to move. I love melodies, but I don’t want my shit to be overly melodic. I want to keep it minimalistic. That’s what I’ve been racking my brain about! I got a mad library of shit. Magazines, books, and damn near every rap album that’s ever come out. I’m collecting information, and applying it. I try to incorporate blues, jazz, and all that shit, but at the same time, keeping it raw and simple.

Every rap album?

[laughs] Yup. Seriously. Damn near everything. Hundreds, dude.

What non-hip-hop do you listen to?

Everything too, man! I love music in general. Anything funky. Obviously I’m a big Parliament Funkadelic fan. I like jazz and blues. I listened to both a lot when I was younger. I like classical music too. But basically, any funky shit I’m down for. I find myself still listening to a lot of rap though. I hella like rapping, so I’ll always check for hip-hop.

What are some of Del’s favorite rappers and producers?

Right now, Cam’ron and his clique. In terms of producers, Erick Sermon. He made his own style of funk, but still kept it hip-hop. The Bomb Squad too! What they did with sampling was ingenious. I listen to their shit now and I’m still blown away. Those two are probably my all-time favorites. They both know what they’re doing. Current producers, I like Timberland and Dr. Dre. Them are the cats I be looking at when I’m studying music theory, because I think they are the cats to beat. Oh, and RZA! RZA is hella tight. I hella dig RZA. Rapping and producing! I think we think alike in a lot of ways.

RZA and Dre have been doing their thing for years too. What do you think explains your longevity?

I think the fact that I don’t change that much, but I do change. I can adapt real well to new things, but the essence of what I do and what I am, really doesn’t change. I think you can hear that within my albums.

What is your favorite album of yours?

That’s a hard one. I think Future Development was a good album. My favorite? That’s hard! I have a lot of favorite songs of mine. “Jaw Gymnastics” and “Disastrous,” to name a few. I like those harder, more ominous beats.

What were your thoughts on your more recent projects you’ve been involved in, Deltron and the Gorillaz? And are you going to work with Dan the Automator again?

Dan just called me the other day! We’re both just trying to get our shit in order, but I’m always down to work with him. Both Deltron and Gorillaz I liked a lot. Gorillaz, I was just a minor part of. I just sort of lent a hand to that project. Deltron simply came out really well. It was something I was working on in my spare time, ran it by Dan, and we just clicked. To this day, people still come up to me and tell me that it is their favorite album. We must have did something right. I mean, people are still buying it, so I guess sometimes thing just work out.

What do you think of people illegally downloading your music?

Good question, man. In a way it’s foul. At some point, a motherfucker should buy some shit. Don’t get me wrong. It’s cool that people are checking for my shit. I mean, people are going to download music anyways, so at least I’m still being heard. But I don’t appreciate people who are straight loafers! Motherfuckers who never buy shit, and download everything. I don’t appreciate that. It says alot about their character; know what I’m saying? So in that sense I don’t like that. But I feel like the music industry itself, as big as it is, loses out. What I mean is, everyone feels the effects. The fans will have to pay more for shows. I mean, the fans, the artists, and the music lovers who do support their artists, will lose out because a group of people simply don’t understand that artists need support.

Are people supporting the new Hiero record, and what do you think of it?

People are being very kind to us. The support is super strong, and we hella appreciate it. I’m also very pleased with how it came out. I think we came with it! Especially on the musical production end of it. We know we can rap, but we worked hard to make beats that you’d be hard-pressed to find flaws in. If you don’t like it or whatever, it’s cool. But you can’t say there’s a flaw in it! I’m glad I played the background too. That gave me time to work on my album, and at the same time, let the other members shine. I mean, at shows, people run up to me and give me attention. But I’m like, go check for Pep Love or Souls [of Mischief]. Those motherfuckers are bad too! You came to see Hieroglyphics, not Del! It’s a trip. I just heard Opio’s new album, and it’s bad, dude! He has a lot to say, and his personality shines through. Check for that soon. Pep Love too! Pep’s ridiculous! He rips it, dude.

Would you ever think of forming a sub-group with other member of Hiero and releasing an album?

Yeah! Me and Casual want to do a project called the Smash Brothers. We’ve thrown around ideas and got the ball rolling, but nothing is done as of yet. We both have thick drama to deal with, and we both tour separately, so it’s hard to make the time. Casual just got some new software and equipment, so we’ll take it from there. I mean, we both have equipment and are highly creative. I be thinking of shit all the time. I even have a secret album coming out.

Secret album? You better tell me. I can’t promise I won’t tell either.

Hahahha! Well, man, it’s not really a secret. I have a project called Achilles Heal. I’m going to make it a really raw, low-key album and only release it on the Internet or on tour with me. It’s for the fans that’ve stuck with me, and given me their time. I hope to release it around the same time I release 11th Hour. I mean, I have a lot of raps and beats lying around, so I gotta release them somehow. This will be a good outlet for that.

What do you think of the hip-hop that is coming out right now?

A lot of the underground shit I don’t be checking for. It’s over my head, I guess. I check out artists I know and like. MF DOOM is dope! Little shit here and there also. Alaskan Fisherman are dope. I like major releases too. The funkier the better! Missy Elliot, the Neptunes, whatever catches my ear.

What would you tell someone trying to get into music or music production?

Know your shit! I mean, it’s cool just to make some beats, but you gotta learn about music itself. A lot of producers, I mean those who are on top of the game and are doing their thing, all have musical knowledge. You gotta at least know what they know. At least! I mean, I got books by old funk masters and blues musicians. You gotta study real drumming, and real bass lines. Motherfuckers can’t just mess around anymore. Hone your craft, dude, know what I’m saying?

How are you, as an artist, different now than you were ten years ago?

I think everything’s a natural progression. I mean, I’ve always had this interest in music, but I never thought I would be an actual musician. I used to just rap, you know what I’m saying? But now, I understand music. Basically, producers should know something about lyrics and rappers should know something about production. After a while, I had to learn all this shit on my own, because I didn’t feel like I was growing. Then I learned how to write and read music and was like, “Damn, I should have learned this years ago.” I thought it was hella hard or something, but the basics were right in front of me. I think I sound like I know more now.

What can we expect from a Del album in 2004?

Thanks for asking, man. It’s called The 11th Hour. What I’m trying to achieve with this shit is, basically, trying to keep it raw. I’m bringing it back to the first album, with parts of my second album. The rawness of the second one, with the funk of the first one. I’m hella into Parliament, like I said, so I have to keep it funky! A few of the tracks I’ve done do have a more ’70s soul/funk sound to it. This album has no cut corners, and is more laser precision. I mean, I was born in ’72, so I relate to that era most. Musically and conceptually, I’m about survival.