A mid-life crisis in Hip Hop is just like a mid-life crisis outside of it. Uncertain of where their life is headed next, older people often have varying symptoms in terms of how they deal with it. Some of them desperately (and often, unsuccessfully) try to keep up with what younger people are doing, while others bitterly, abstractly ostracize their proceeding generation. In general, it’s usually best when those people can embrace their growth, and use it to actually help others instead of trying to make them be something they’re not.

While Bun B certainly isn’t “old,” he’s definitely a veteran in a genre dominated by youngsters. But he’s aged like wine and gotten better with time. As a soloist and as half of the duo UGK, he and deceased partner-in-rhyme Pimp C have dominated the south with their virtually infallible catalog, which has consistently maintained the balance of updating to match the competition but maintain its timeless elements to satisfy die-hard fans. Bun has also made it a point to mentor the new crop of Hip Hop superstars, talking to the likes of Lupe Fiasco and Kidz In The Hall on a regular basis. In an interview with HipHopDX, Bun B talks about his new album Trill II, the importance of identifying with younger emcees, and getting better with time.

HipHopDX: Much like your last album, Trill II [click to read] has a lot of features. Is there any specific reason that you formatted both solo albums that way?
Bun B: No, not really. I just put people on songs that I feel would sound good on songs in particular. Apparently, a lot of people are telling me I guess there’s some kind of rule to how many features you’re supposed to use on a solo album. I’m not a solo artist by nature. I don’t consider myself to be a solo artist; I just make solo albums. I consider myself a group member, so I probably don’t approach a solo album the way I guess most solo artists would approach an album.

DX: What would you say are your favorite songs from Trill II?
BB: I don’t have any favorites, to be honest. “Angel In The Sky” is closer to my heart than some of the other stuff, but all of the songs on the album are important for one reason or another, to me.

DX: “Swang On Em” features Lupe Fiasco [click to read]. How did that song happen?
BB: Lupe’s a good friend of mine. Like-minded person, very talented cat, I feel like one of the most underrated in the game right now. I had a song that I thought would be a good fit for him, and that it would be an interesting combination. I didn’t have any hindrances to whether he could do it or pull it off, I was just curious as to what people would think about the combination. I, for one, thought it was going to be a great combination, and it looks like everybody agrees.

DX: Lupe has talked about how you showed up in the video of “Hip Hop Saved My Life,” and how you had taken him on a tour of Houston when he visited. What made you decide to do that?
BB: I pretty much do [that with] most artists like that when they come to Houston, I try to let them see the city in a right way and give them a proper tour. You hear different things and there’s certain stuff on TV about Houston, and I wanted them to see. I wanted them to go to 5th Ward, I wanted them to go to 3rd Ward, I wanted them to go to South Park in the southwest side of Houston. There are things that I felt you need to see when you come to Houston.

DX: Do you think that that’s something that’s missing between the older generation and the new one?
BB: I think so, to a certain extent. It was the way that I was brought in. I was blessed to have people like J Prince and Scarface [click to read], and the Too Short’s of the world embrace me and give me a couple of pointers. I’m just doing what I kind of feel is my obligation in this music industry. There’s not unity and loyalty in this game right now, and that’s why it’s falling apart. Everybody’s looking for self.

DX: You mentioned “Angel In The Sky.” What was it like putting that song together in a post-Pimp C state of mind?
BB: It’s hard to put a finger on exactly how I felt, it’s not something you can really describe. Just something that we knew we had to do, and I felt [it was] the best way to get a lot of things off my chest and release a lot of the pressure and tension based on what was going on. Cozmo made an incredible track, and I was really able to express myself.

DX: Recently, Trae and Devin the Dude [click to read] left Rap-A-Lot Records. How did you feel about that?
BB: Well, they left because their contracts were up, basically. It’s not like they demanded to be released from their contracts or anything. They did their time on the label, and they decided it was time for them to move on and do different things. Both of them had the option to resign, and they chose not to. I think that’s a personal decision for an artist to decide where you want to go and what you want to do. I don’t think it’s a reflection on the label, because quite honestly, there’s an artist on every label leaving or trying to leave. Somebody’s left every label, ya know? Jay-Z [click to read] just signed a $150 million deal to Live Nation [click to read], and I don’t think anybody looks at that as a reflection on Def Jam the label. You have to field the offer, J Prince is not a person to hold you back if you have a better situation, so if you feel like you can do something better somewhere else, feel free. It’s a record label, not a concentration camp. When you fulfill your contract, you’re more than free to go on. Continued on page 2 »