For the last two years, Jae Millz might have been easily forgotten. Then again, he's easily remembered. The Harlem battle emcee who was indeed that fierce rhymer that was making noise in the streets. Whether it was Smack DVDs, an epic Making The Band appearance, or simple mixtape mania, if you followed his stats, you had a feel that Jae was major label bait to the fullest.

And so it was, Jae Millz was signed to Warner Brothers. Though he was signed, and released a big-budget video, the direction towards an album grew tangential. Then came Universal Records. Once again, an album was not in the cards, as Millz was overlooked for budding careers of southern and midwestern stars.

After self-sustaining a career ever since, Jae Millz might best understand the value of a major label full metal jacket. The same deejays and artists that embraced him when he was backed, turned their own backs as the "No, No, No" prodigy opted to make his own music. Then came Lil Wayne. After announcing signing Jae Millz to the Carter's Young Money imprint [click here to read...], the Uptown rapper's phone started ringing. And for all those fair-weather friends, Millz changed his number.

In between studio sessions, Jae Millz spoke to HipHopDX about what a long, strange trip it's been. He examines the worth of the majors, the freedom of being unsigned, and just how quickly your stock rises in this fickle industry. Get some exclusive details on Young Money's plans for 2008, and their New York delegate that's going to take them there. Amidst all the twists in Jae Millz' story, one thing is certain: he never lost his edge as a ferocious battle rapper.

HipHopDX: You was smashing the mixtape scene, you was killing people on the underground as one of the hottest battle rappers that got talent. With that being said, do you think your time is finally now in 2008?
Jae Millz: I feel like my time been came, but now, it’s not even about that. It’s really about what you're doing to stay above water in rap right now. It ain’t really about being your time, because sometimes it don’t really even be people’s time. Sometimes they might throw a record out there and it just might blow up, but you know you hear that saying, “I wasn’t ready it just happened to fast.” That comes from thinking, “My time is going to come.” I don’t know what’s going to happen, all I know is I’ma keep making bangers. Can’t nobody say I don’t put out bangers, can’t nobody say I can’t make a record. You can’t say I don’t make records; I came in the game with “No, No, No.” I came in the game with a video in Jamaica with a Benz. I came in the game like that, if you want to go to “Who,” “Bring It Back,” the “Bring It Back,” remix with [Fabolous and Lil Wayne]. You can go to “Holla At A Playa,” “My Swag;” I got records. I got a resume and can get on stage and perform for 20-30 minutes. I still didn’t put out an album yet. I used to always think “My time gonna come, my time gonna come,” man, just work and it’s gonna happen.

DX: So what was the problem? You think the A&R’s at the label didn’t know what the hell they was doing, was it the timing, what was the case?
JM: It wasn’t the A&R’s, it wasn’t nothing really like that. It was at the end of the day the people who really make the decisions. Consider the time when I was at Universal when people was kind of still selling records a little bit before this whole Internet thing really took over. I was in the middle of that Nelly [reign]; Lil Wayne was doing The Carter thing, then you still got Baby, Prince, Stevie Wonder [Laughs], Chamillionaire [at Universal Records], you understand what I’m saying? I’m in the middle of so much and it’s like I’m a new artist. It was so much focus on other places and people who is working on other projects. Everybody was trying to prove themselves, but it was certain people that was made priority. When new people came to Universal and all this other stuff started happening, David Banner just switched. I remember when that man was serious, like they totally fucked his second album up. The “Play” joint and all that, fucking up going for ads, but to make a long story short, it was just the people who make the decisions at the end of the day. I guess I wasn’t a priority so no matter even if I did do the “Ridin Dirty” remix and it was poppin all over the eastern region. If I was doing records with DJ Khaled, Scott Storch, Cool & Dre on the strength, nobody on the label reaching out, no invoices, they just doing this on the strength. None of that really matters when your not a priority. You mine as well sit the fuck back and wait till they call your name to come to the front of the classroom. I couldn’t really do that, that’s why I left Universal. Continued on page 2 »