As the cliché goes, the more things change, the more they stay the same. Surely enough it also applies to the game, in which amidst the attempts (and successes) of fresh flows, styles and gimmicks, a much underrated pre-requisite for triumph can be found, and that is consistency. Consistency in Hip Hop is the ability to bring back to the table over and again whatever it is the fans latched onto from the beginning – be that lyricism, cleverness, flow, depth, swagger, and even, all of the above.

Artists such as Talib Kweli, J-Live and Jay-Z possess the gift of being able to remain consistent with their craft, and this month’s Underground Report feature, does also. Priest (the “Killah” is officially dropped from his name) developed a reputation for thought-provoking lyrics that strike a subtle balance between preaching and teaching. Much of his rhymes allude to religious and spiritual directions, many of which are drawn from The Bible and incorporated with Priest’s experiences, perspectives and internal debates.

His latest release and sixth studio album, Behind the Stained Glass, incited many critics to agree on his consistency in lyrical depth, while at the same time criticizing his choice in beats, often calling them “simple” and “not up to par” with the type of production the Wu-Tang affiliate should be selecting at this level. Perhaps however, Priest purposefully pursued the particular sounds, beats which melodically set the stage for stories, lessons and questions the Iron Sheik was about to pose to both himself and his listeners. The beats then become a rough backdrop, a support rather, setting a perfect mood for the emcee to convey, which can be heard in tracks like “For Tomorrow” and “A Crying Heart”. Preparing for his US tour with GZA (taking place this August), and in the midst of recording Behind the Stained Glass Part Two, Priest sits down with HipHopDX to explain his choice in beats on the last joint, the hypocrisy in the Hip Hop community, and his views on exploitation (including Snoop and Jay-Z as Hip Hop’s perpetrators). Priest also clears the air on his absence from the 8 Diagrams, and the current stage of the long overdue HRSMN Project.

HipHopDX: Let’s start with the album, Behind the Stained Glass [click to read]. Are you content with the sales?
Priest: Nah, not at all. Let me say this: it is what it is. Cats that support real Hip Hop just get out there. But you know, this album just came out right behind The Offering [click to read] real quick, and I’m just gonna keep pushing out products so it’s not a mission with me with the sales. I’m not gonna lie to you, I’d love to have those Kanye West sales; but in reality, half of the people are just not getting it. And the people that are not supporting, [that are] downloading the music, are just helping this corporate type of Hip Hop win.

DX: So you think it’s because the album came out too close to The Offering?
P: Umm…nah. I’m just throwing out different reasons why. I really think that people are not checking for real Hip Hop anymore. I don’t know what the problem is. I’m thinking maybe promotion or whatever, but to be honest with you, you have to look for it. And there’s gonna be a fewer amount of [those] who want it and that’s the few that are gonna get it.

DX: I was reading some reviews and the critics are commenting on the beats, stating that they’re basic, not up to par with the lyrics, etc. What was the process for your beat selection?
P: I work with DJ Woool real close - and this is a more personal album, me getting a little deep on there. This is an album that you really can’t – you’re not supposed to download, but just hear it over the…it’s more about the lyrics and how the beat fits. The beats create a mood. I wasn’t looking for extravagant beats; I was looking for different type of beats. I think the beats are dope; they fit the songs. It’s kind of like evolutionary because when something comes out that’s different, people don’t take on to it. Maybe it takes them six months. Like if you listen to Behind the Stained Glass in your headphones, it’s over – you’re gonna love the music; if you listen to it in your car, you’re gonna love it. But if you’re just downloading and the phone is ringing and you gotta leave, it’s not an album you can leave. That album wasn’t supposed to be a ‘rah-rah’ in-your-face joint.

DX: Well-put. “For Tomorrow” [click to view] and “I Believe” [click to listen] for example have well-chosen beats that set the backdrop for the depth to the lyrics you blend in. So let’s touch upon the lyrics quickly. Much intensity and emotion in the rhymes, especially toward religious and social issues. Under what circumstances did you write?
P: We got a lot of it on film; we’re gonna release some of it. It was just like me, DJ Woool, a couple of cats in the studio…my son Rudy was there. It was a dim light, incense. We were just in there…it was an ill vibe in the studio. We had the scripture in there; we were reading psalms. I was basically talking about my sister and her passing – because I didn’t get that off [my chest]. She passed at the end when The Offering came out. I started just recording what was going through my head; and we just were going through a lot of stuff. A lot of things happening in the news with the face of America changing, and it balled into one and became… Continued on page 2 »