DX: Do you have any other experiments that you think worked as well?
GFK: Not really...I guess that might've been the only one like that.

DX: Critics point to your storytelling as one of your best assets. Do you enjoy them as much as some of the fans?
GFK: Right, that's my thing. I like to just write regular rhymes too though, but I think when it's all said and done, there's nothing better than giving the people a movie. The beat makes me go into story mode. I don't come up with an idea like, "This is what I'm doing." If the beat sounds like that, then that's what it calls for.

DX: Do you remember any particular story that influenced a rhyme?
GFK: Nah...I mean, niggas talk all the time and shit. Somebody might just say something crazy. It’s nothing that I can remember right now, but yeah, I've heard a lot of shit.

DX: Aside from the storytelling you and Wu-Tang in general have been infamous for the skits on your albums. Were there anyone's skits that influenced you?
GFK: De La Soul had some nice skits on their album. Back on ["Can U Keep A Secret"] when the were saying, "[Posdonous] got dandruff," those were the best skits on any album to me. They had the illest skits 'cause it was crazy. You could never try to repeat or do that over. I liked that because they were open and their minds were free. That was the livest shit to me.

DX: You had a pretty live skit on Supreme Clientele right before the song "Child's Play."
GFK: Oh, you mean the "Who Would You Fuck" skit?

DX: Yeah. Did you ever catch any backlash from that one?
GFK: I saw them, but nobody said anything though. You can't really do that shit no more because these chicks got babies now. Even back then they probably had husbands and you're saying, "Who would you fuck?" and then naming their wife. It was good for what it was back then. I saw all them, but ain't nobody gonna say nothing.

DX: It was all in good fun.
GFK: Yeah, it wasn't any disrespect.

DX: As far as the beats go, you seem to gravitate toward the old soul samples. Do you look for anything in particular?
GFK: Nah, just whatever sounds hype to my ear. If I feel I could fuck with it or I might see something as soon as I hear it, then it's all good.

DX: On "Supa GFK" you used the Johnny "Guitar" Watson sample Redman is infamous for. Did you two talk at all before you recorded the song?
GFK: You mean did I have to ask him if I could use the beat?

DX: No, just in terms of liking or using the same sample.
GFK: Oh, nah. When Redman did it, he did it and the beat was fat and all that. It's a whole new time zone now so it was like, I liked the beat and I always wanted to do it. Redman did it first, but I always wanted to do it. I just took the whole beat and rhymed over it. I don't know if [Erick Sermon] chopped it up or used the whole beat, because I haven't heard ["A Day of Sooperman Lover"] in a while. I just did it because I liked it.

DX: What allows you to be so candid on songs like "Never Be the Same Again" or "All That I Got Is You." Those are some subjects that most guys would either lie about or not address at all.
GFK: Life is real life, man. I'm a diabetic. I could talk about diabetes like it's nothing. It's like whatever you got to say, just say the shit. It's whatever the beat calls for. When I did "All That I Got Is You" the beat sounded like that's what needed to be said--sad shit. It was the type of thing where you just tell your story. It was like that on "Never Be The Same Again" too. I'm not just describing my shit, I'm describing other people's relationships and what they go through too. When bitches fuck on niggas, it'll never be the same again for that nigga. When niggas fuck on bitches it'll never be the same again for that bitch. You can get on a nigga for not taking care of his kids if that's how it felt when the beat came on. If that revelation came like that, then that's what's gonna get said on that track.

They gave me the hook with Ne-Yo on it on "Back Like That" and that's how come I had to write that. The hook was already on it like that, so I had no choice but to go in that way. It wasn't like I had an idea like, "Yo I'm gonna talk about this bitch," and this and that, because bitches be thinking I'm always trying to put a bitch down. It ain't like that. That's just how the hook came. It was like that on "Never Be the Same Again" too. If it's a different hook and it comes that way, I'll tell my story behind that. It's like that with all my records. Basically the music makes me say what I say.

DX: During your live performances do people request a particular song more than others?
GFK: No, there's a lot of songs they want me to do. A lot of Supreme [Clientele] shit—"Mighty Healthy," "One," "Black Jesus," "Daytona 500," "All That I Got Is You." They just scream for everything.

DX: True. On The Big Doe Rehab's "I'll Die for You" is one of the many songs you have that deal with a more spiritual side. Do you have any particular feelings on what happens after death?
GFK: I guess you have to wait wherever you're at. It's your judgment day to get judged and see where you're gonna land after that. To me, I think it's just a holding place where all your family and everybody is at. I don't think everybody's in heaven right now, because you didn't even get judged yet. You know what I mean?

DX: Yeah.
GFK: You've got to go to judgment day before you go to where you really have to go. That's just my personal opinion. Nobody knows until you're gone. I think you [end up] with your family and your ancestors, at least 70 generations of all your ancestors. They wait for you to come like, "Come on, come on, come on!" and they applaud you while you're coming. You're happy, but you get sad when a baby is being born from your generation because they're going to have to suffer. And that's it. When you die, you just go right back to the gasses, like before. You're with your family, man. But, you've got to wait to get judged. Continued on page 3 »