Necro: Death Rap Attack

posted October 30, 2007 12:00:00 AM CDT | 26 comments

Some of us might consider Necro a gore-rapper, but he certainly doesn't. Raised on the raw, precise lyricism of the early '90s emcees, the Brooklyn-born rapper believes that sex, violence and drugs is human nature. Whether or not that's healthy, all three elements have littered Necro's past and his art. The emcee, producer and CEO clearly makes sense to many, because after releasing albums the last eight years, he's playing nightly shows with Insane Clown Posse, and recently released the Koch-distributed Death Rap.

HipHopDX would be lying if we said we didn't speak to Necro in celebration of Halloween. However, once we got on the phone with the rapper with the ferocious lisped delivery and grimy beats, the artist made a case why he shouldn't be pigeon-holed - by the media, by the fans, by Hip Hop. With Master P as his inspiration, Necro says he's not stopping until he's as big as 50 Cent. One thing is clear, each bar and each beat will take him there, the ski mask way.


HipHopDX: To what extent was the Brooklyn, New York of your youth a scary place?
Necro:
The first time I moved to the projects, I was six years old. It was a fuckin maze. My mother let me walk around by myself and I got lost. I was walking around the whole projects like a fuckin rat in a maze, knocking on peoples doors; I was crying and shit. It was sick. It wasnt no fuckin adventureland, no Disney World; it was a metal maze with metal doors and concrete buildings. Just drama everywhere. Always beefing and fighting. Its not like suburban areas where people dont get into too many fights. Every day pretty much, people are beefin. It wasnt me beefin with people, it was people fuckin with me usually people three, four, five, six years older trying to be bullies and shit. You just had to get rugged dealin with shit like that. Every time you have to go to the store, theres 20 kids on the corner, thugs, and they want to fuck with you. And you end up turning into that thug, which I ended up turning into [as a teenager]. The only difference with me was I wasnt no punk thug. I didnt start with motherfuckers younger, and I didnt pick on people. A lot of places can be scary to different people, I was never really scared of my environments. If anything, I was scared of my father. The man was a killer from the Israeli Army, who came here when he was 21. He just looked at you and you got shook. He was the scariest thing in my life as a child.

DX: Do you miss that old New York?
N:
Ive lived in Brooklyn 31 years. To me, I dont notice changes, really, cause when youre there, it is what it is. I kinda handle my own business, and dont get too involved in politics of things changing. I dont feel a change.

If youre talkin about this Hip Hop culture, Hip Hop culture right now is a piece of shit. Everything changed. Right now its not about lyricism, dope music. It was always a music business. But art always had a real big influence, and art doesnt have that influence anymore. It seems like its really only business now.

With me, I got to make the distinction. People think Im horror-infested, and Im this horror-rapper. I dont really view it that way. I choose to rap different things. I could just rap thug shit. I would say I personify the thug life. Meaning, I dont walk around everyday now, but Ive done did it, lived it enough to rap about it. Just in the last show we did, we had to fuck up four people to the point where my manager is extremely nervous dealing with me. Im not like Tupac. Its not like I got known then got into drama no disrespect to him. Ive been getting into drama my whole fucking life. This didnt just start when I became a known rapper. It just so happens that [lyrically] not too many people have delved into the sides Ive delved into. On my new album [Death Rap], the first track is called Creepy Crawl. Its me describing the two [Charles] Manson murders. The reason I do something like that is me choosing a subject that I feel will sound really hard over a beat thats gonna hit you in a way that I want my shit to hit you, in a way that maybe I cant hit people everyday on the street. I cant just walk up to people and jux them in the neck every fuckin second; Ill end up locked up. Im not saying I havent juxed people in the neck, Im just saying its my release of aggression. Some rappers might rap about Malcolm X or Larry Davis, so Ill take Manson. I did it very creatively. Its very descriptive. Its very lyrical. All the rhymes connect.

Everything in life is horror. Malcolm X getting shot is horror. That was a gore scene. A bullet going into the head, blood dripping. A dude in Iraq, fighting for our country, who gets his leg blown off, thats horror. People say, Oh, youre a horror-rapper. Youre a horror rapper if you rap about the shit that goes down everyday in the projects. When I rhyme, Im tapping all those subjects, but people focus on only one thing.

DX: You cant be a dummy and touch on some of these things. How do you research the subjects, how do you absorb these ideas and spend your free time?
N:
I do research on shit. I study shit. I apply some of my own life to it. When I see the opportunity to do something, I do it whether were talking violently or scholastically. I like to be realistic with my shit. It requires work. Nothings dope if you just want to sit on your ass and be dope. You got to get on stage and murder 800 fuckin kids.

DX: I first heard of you with 1999s Get On Your Knees through a magazine write up. You have such a cult following. Yet you say, I dont feel big yet. How?
N:
In the underground, I might be up with the kings. But Im comparing myself to 50 Cent; Im trying to be huge. Im trying to be huge, but like he is. He kind of dumbs his shit down. Guess Whos Back? was butters; his shit was bangin, but he dumbed it down and blew up. I want to stay down, doing what Im doing. I feel like I can get all the white kids.

I see no reason why a million white kids all over the country wouldnt love Necro, or feel where Im coming from. [Im a] white kid from Brooklyn, Jewish, keeps it real, I aint getting played by nobody, you aint hearing about no rapper smackin me, nobodys fighting me a fair one and knockin me out. I got enough going for me. I sound good live, Im well-rehearsed, girls think I look good. Im trying to be big the way all the black rappers are big. Only dudes on major labels are huge. I should be [too], cause I represent white kids, and white kids are the ones who buy all this shit. Its not really fair that Eminems the only white dude who can be big. Theres numerous black rappers who are legends, why cant there be a couple white dudes? The game is so racist that they will not give anybody props. Then youve got 100 white rappers on the underground who arent getting nowhere, sell way less tickets and records than me, and people will think theyre on my level. I dont think [so]. Im not stopping till I succeed. I do good things, but Ive got to keep doing good things. Every day has to be a good day. Last night I did this show with ICP [Insane Clown Posse]. I was out there ten minutes before three girls showed tits on guys shoulders. The first song; it wasnt even a porn track and tits were being show, in Tulsa, Oklahoma with 1,500-2,000 kids in the room. People want to hear it. Anybody that doesnt acknowledge is hating.

DX: Youre a respected and highly talented producer and emcee. The ability you demonstrate in both could put you in circles with Large Professor or Diamond at that. How do you juggle the responsibilities, or simply the creativity?
N:
Its actually very hard to do both. I hooked up equipment so I could make beats while I was on the road, I never did that. Its a big juggle. Its not the easiest thing. Im kind of a triple-threat, and I hate to say that cause a lot of people use that. But Im a CEO of [Psycho+Logical Records], I make beats and I rhyme. Honestly, I could spend 30 hours just dealing with beats whether its getting records, listening to records, making a beat, mixing a beat. Then I could spend a whole day writing a verse, another just dropping the verse in the studio. I could spend a whole day just answering emails and dealing with business, seeing if my record scanned well, artwork. Its brutal. A lot of time comes into it. Keep in mind, Im a pervert. Were dealing with all these things, and we havent even talked about my dick. I gotta find the time to handle all this shit to get laid. [Laughs]

I havent gotten that big yet where I can feel like I can detach myself from this shit. I dont think I could ever let my beats or lyrics be handled by anyone, which Ive never done. The one thing I think I could hand off to people is the business. Definitely influenced by Large Professor, who you mentioned. Breaking Atoms [by Main Source] influenced me a lot. I was living in the PJs when that album came out, watching Looking at the Front Door on Video Music Box. That shit was bangin. I go back. I go back to before Mobb Deep dropped, before Wu-Tang, before Jeru The Damaja dropped in the fuckin the streets, rhyming before some of the biggest rappers who arent even fuckin big anymore. Before they even dropped me and [Ill] Bill were rapping. For me, Ive got to be big, man. Im not even as close to as big as Mobb Deep or Wu-Tang. You might know me, people know me, but people dont. More people need to find about me, then theyll know I keep it real. I keep it real in the street, on beats, on lyricism. Its gonna take time, but Im taking it there. Master P was dropping shit in 90, it took him seven years [to go platinum]. Im at seven years now. Because Im white and I do shit myself, its gonna take me a pinch longer. I dropped my first CD [I Need Drugs] in 2000. Give me 10 years. I put in seven, eight. Im eventually gonna get my fuckin Universal deal. Its coming. Ive dedicated my life to Hip Hop, so I cant let nothing get my way. And the fact is, there is a lot of shit it my way. Theres obstacles everywhere I go.

Check Necro's Myspace.

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