If you are looking for someone to that helped write history, look no further than Chris Lowe.  From his groundbreaking production for Stezo in the 80′s and being a behind the scenes producer for Sleeping Bag/Fresh Records Chris Lowe has showed true longevity in hip-hop.  After dropping the highly slept on album “Black Life” is 2004 Chris Lowe is back to silence all his critics with “Black Life II”.  The album is a true solo album, which is rare in this day and age.  From the rhymes to the beats Chris did it all with an album any hip-hop  head would be proud to have in his/her collection.  I sat down with Chris to talk about the new album, reminisce on the golden era, and speak about the future.   From CT to Chi-Town.

HHS: Nice to see you back, what’s been going on?

Chris Lowe: I’m trying to get my company off the ground so I can continue to put out records.

You have been around since the 80′s and you are actually quite the veteran of the game, but for those that don’t know.  Do a little introduction.

Chris Lowe is the behind the scenes producer from Sleeping Bag/Fresh Records home of EPMD, Nice and Smooth, Stezo, Just-Ice.  I was DJing for Stezo and produced his album.  I also made a lot of beats behind the scenes for a lot of people and it’s really nice to be back and say what up to some of my old friends.

You hail from Connecticut but now live in Chicago, what would you say is the main difference between East Coast and Midwest hip-hop is?

The enthusiasm.  On the East Coast we had a hip-hop first so the enthusiasm is gone.  It’s now looked at like a job and everybody is concentrating on making money off of it.  Out here in Chicago the enthusiasm for the art reminds me of how New York was in the 80′s when hip-hop was new and exciting.

It’s been nearly 3 years since “Black Life” dropped, what would you say is the major difference in the game right now from when that album dropped?

It’s pretty much the same really.  I had a prediction in 2001 that hip-hop was heading to the state that we are in right now.  I predicted this and I knew it was coming.  When 2004 came and I was putting out “Black Life”, I knew because of the way the industry was it was going to be a struggle for it to get the recognition it deserved.  Now that “Black Life II” is out I’m hoping that someone will take notice and we can catch a break.  Hip-Hop isn’t dead, it’s just the fact that companies are not focused on real hip-hop anymore.

The new album “Black Life II” (The Next Thing Smokin) is out on Nature Sounds.  How did the relationship with Nature Sounds come about?

I met Devin Horowitz through a friend of mine named Peter.  They actually had a part in putting out “Black Life”.  Devin seemed to really believe in me and wanted to give me another shot.  I told him I wanted to put out another album under different circumstances so I am thankful that he gave me another shot.  “Black Life” didn’t do anything….

I disagree with that, maybe commercially “Black Life” didn’t sell units, but there are lot of people out there that know of the album and how good of album it was.

Thank you man, this is the kind of stuff I didn’t really know because I’m out of the loop.

“Black Life” was chalked with guest appearances but “Black Life II” is all you, why no guests this time around?

There were a lot of naysayer’s about the last album, talking about how I couldn’t survive without collaborating with someone.  I wanted to proof my skills on this album.  I left it up to me on this one and I think I had to proof myself to the public.  There were some guests that I wanted, but I wanted to show people that I’m serious so I did this one all myself.

You and Large Professor seem to have similar styles with beats and rhymes, are you related in anyway or just a coincidence?

Naw, we aren’t related (Laughs).  Me and Paulie (Large Professor) used to call each other and really talk over the phone and talk about ideas.  We were beat buddies where we would find shit and play records over the phone.  We aren’t related but we’re great friends, I haven’t spoken to him in quite sometime but I miss Paulie because we came up together in this game.

Since you are a producer and an emcee, which do you prefer and why?

I have love for both equally.  I got through fazes.  Sometimes I feel like just doing beats and then other times I’m on some writing shit.   It’s always started with my beats and you know I was a DJ first.

What is your main piece of equipment when making beats?

Right now I don’t really have a preference.  I’ll use anything; the basic schematic is the same for all these samplers out here.  I’ll get to anything and do what I have to do.

On the “It’s My Thing” skit on the album you state EPMD is your favorite rap group of all time, why EPMD?

I watched them do it from the beginning.  I knew them before they started making records.  I watch Parrish sit out there and plan out a hit.  I was with him when he came up with “It’s My Thing”.  I always admired them because it was the first time in career that I watched it all happen besides with Stezo.

In the early 90′s major labels were signing hip-hop left and right.  Why do you think the majors have all but shunned those who built what they now have turned in to a multi-million dollar business?

The audience became younger.  The younger audience spends a lot of money.  The companies tend to focus on those that spend a lot of money and right now the younger people are the ones spending the money.  It’s always been like that though it’s just a different time right now.

After listening to “Black Life II” it seems like this album is strictly for the heads that get it.  You aren’t trying to pawn us off on a gimmick or some new innovative production style, it’s just straight hip-hop.   Do you feel that artists have lost their motivation for creativity because the audience has become so dumbed down?

Exactly.  You can only appeal to people that identify with you.  Of course you leave the door open for the younger audience to expand their minds.  If I can’t enjoy my music than I don’t feel anybody can enjoy it.  I’m always going to give myself a chance to be exposed to new markets because when you do real music and music from your heart, you never know who is going to like it.  I’m not going to limit myself to one market but I do target fans that like the music that I like.

What are you hoping to accomplish by putting out an album like this?

I just want to give people an alternative and something else to listen to.  I’m not trying to sell 5 million copies; I’m just trying to give young people something different to listen to.

Last words?

Don’t sleep on the “Black Life II” album.  Look for the pick (hair pick), I’ve got shirts with the pick on it and go pick up the album.

   First off, there are some duds.  “Chick On Da Side” is a failed attempt to make a club record.  The corny hook and cheesy “I’ll blow your back out” lines makes it very difficult to envision anyone enjoying it at a party.  It’s evident that Chris had no one help him because there is no variation of creative input.  Too many of the choruses have the same repetitive formula.  The aforementioned “Chick On Da Side”, “Back to Back” and “Wild Thing” are prime examples of this.

   There is no question that his rhyme patterns are more suited for 1987 than 2007.  The problem is that he sounds more “old” than “classic”.  He reminds you of that old guy at the YMCA wanting to play ball with the young guys.  At first he’ll hit a few jump hooks and set shots, but after a few times up and down the court, he’ll be trying to catch his breath and eventually end up on the side watching.  Bottom line, Chris Lowe isn’t a strong lyricist and trying to make the producer/rapper crossover is difficult.  His rhymes are way too simple and lack versatility (he says the same thing, the same way).   It’s truly a case of someone not knowing is artistic limitations.

   This album’s strongest attribute is its beats; not surprising since Chris Lowe is an accomplished producer.  And while his skill on the mic doesn’t quite blow you away, his content has much more depth than today’s artists and thankfully he doesn’t bother to bust guns or push weight for an entire album.

   Black Life II: The Next Thing Smokin’ is worth a listen.  Songs like “You In Love” and “Golden Era Great” will definitely have your head nodding.  After that, the album is quite forgettable and probably won’t replace anything in your deck right now.  And on those days when you’ll want to bring ’87 back, you would probably reach for your Paid In Full record and leave this one on the shelf.

      They say you can never get a second chance to make a first impression, and Chris Lowe knowingly completes an impressive rundown of his abilities on his debut album Black Life, showcasing a variety of his skills both lyrically and on the production side (Lowe handles all but one track’s production). Opening tracks “Uncut Raw” (featuring Large Professor) and “Let’s Go” (featuring Fort Knox) both join Lowe with worthy lyrical partners as he throws out two fast-paced bangers that catch attention straight off the bat but do not yet exercise Lowe’s full potential as an artist.

    The true gem of the album, “Funny Fake Snakes,” features Lowe bashing fellow hip-hop counterparts that are not quite taking the game seriously as he bombasts, “I think we need to stick to being black, so the next generation’ll step up right on track, We gon’ need ‘em, so tell the truth don’t cheat ‘em, If shorty is hungry for that knowledge, man, then feed ‘em, See I’m into that, I threw that in there thought I’d mention that, ‘Cause black knowledge is the scratch where we itchin’ at.” Not quite the normal rapper-to-rapper dialogue mixed in with a confidence from Lowe so precise that the song comes off as both catchy but knowledgeable at the same time. Other tracks, such as “Get It Goin’ On” and “Hurt It,” sound like tracks lifted almost directly from the 90′s with the former garnering an Illmatic-type “throwback” (as is fashionable in 2004) and the latter including Lowe rapping “Here goes the drummer with the bass player, Track over track, Layer on top of layer, ‘Hey, you got soul, kid,’ Let me hear the snare go flat,” all while Lowe snake charms the beat to follow his commands. The DJ cut “Chris Cosby VS. Cash Money” (featuring DJ Cash Money) would probably inhibit the process of other albums, but instead adds a unique and flavorful wisp of freshness that ignites “Black Life.” Even “Rewind the Time” (featuring Carl Thomas), which employs a piano-laced beat that initially sounds like ill-equipped elevator music, eventually pans out as Lowe delivers slow, salty lines with a hint of LL Cool J’s “I Need Love” breath control (not to mention an unsurprisingly soulful guest appearance from Thomas).

     Do not be afraid, Chris Lowe is neither a totally braggadocios self-absorbed rapper, nor is he a strictly self-conscience emcee or a novelty act. Lowe demonstrates a noteworthy handle of both the emceeing and the production (think J-Zone without the madness), as he both creates funky and memorable beats employed by sampling that he more than adequately can then fill with lyrics. “Black Life” is no classic, but rather a sampler that, if any indication of what Chris Lowe is capable of, may be remembered as his first impression on a classic career.