Skyzoo Breaks Down "The Great Debater," Promises An Ode To Jay-Z's "Reasonable Doubt" By Year's End
Exclusive: S-K-Y discusses The Great Debater, work on his sophomore album A Dream Deferred and how the HBO television show The Wire influences his music.
Whoever believes making a mixtape includes adding second-rate records to the project never passed Brooklyn rapper Skyzoo the memo. Since 2006, the 28-year-old emcee has released either a mixtape or album every year, with the results proving to be more impressive as time goes on. With his latest effort The Great Debater, Sky delivers a mixtape best described as “bars stacked on bars stacked on bars” as tracks 1 through 16 showcase a knack for intricate lyricism that rightfully warrants a “five year plan” for fans who are unable to decipher his rhymes the first time around. Or the second time, or third, etc, etc. What can he say? A man’s got to have a code.
Last week, HipHopDX got on the ringer with Skyzoo to talk about The Great Debater, which has quickly become a milestone in the effort it takes to propel from underground Hip Hop to the Soundscan, as S-K-Y has done. During that conversation, he went on to discuss the status of his sophomore album A Dream Deferred, as well as the possibility of paying homage to the king of the double entendre himself, Jay-Z. A frequent watcher of HBO’s The Wire, Skyoo also explained the influence behind David Simon’s award-winning television show and how it affects his lyricism.
HipHopDX: I want to start off by saying I took that line, “Swear I’d leave the beat alone if I could be with Nia Long” very seriously. I don’t wanna see any photos online of you two together otherwise I know you’re neglecting the studio. [Laughs]
Skyzoo: I wish, man. They just put a report out that she’s pregnant.
Skyzoo: Yeah man, so I guess I’ll be rapping for a while. [Laughs]
DX: You don’t do them too often, but records for the females are present on each of your projects. From “Easy To Fly” to “#AllAboutThat” to “Expensive Habits,” you sound more comfortable in your delivery and likewise execution. Do you typically approach those records the same way you would a “Lyrically Inclined” or “Frisbees”?
Skyzoo: Yeah, for the most part. With me, when I make records I talk about what I know. Unless it’s a record like you were talking about “Frisbees” or something like that, that’s just me rapping, just showing and proving. But anything as far as story-driven stuff where I’m painting a picture, I just go off of what I know. I go off experiences and things that I know first-hand. And that’s the same thing with female-oriented records. I definitely enjoy doing them and it’s something I could do more often if I want, and it’s something I plan on doing more often in the future, but I felt like there was certain grounds that as an artist I wanted to cover first before I really just dove into that. As far as proving what I can do lyrically, proving what type of writer I am, things like that. So that when I decide to make more female-oriented records, no one can say anything about what I’m capable of because I’ve already proven it.
But just going back to the point, making those records is easy just like it is making any other types of records because it’s stuff that I experience. I do have a pretty nice size female fanbase, and when I’m not making music I’m definitely about meeting interesting women. So, just being able to express that musically is dope.
Skyzoo On Where And When He Writes His Verses
DX: You’ve said before that when you think of different song ideas or concepts you don’t usually write until you actually get into the studio when you’re listening to beats. What’s the reasoning behind that method?
Skyzoo: It’s just the inspiration. When I’m home or on a tour bus or on a plane or anything like that, the inspiration doesn’t come as quickly, it doesn’t hit as heavy. If I’m sitting in the house with a beat playing and a pen and paper or my Blackberry in my hand, it doesn’t flow the same as when I’m in the studio. There’s something about being in the studio, sitting in front of the monitors and sitting in front of the Pro Tools screen with the beat blasting. That’s when everything starts going.
I think the reason is because when you write at home or you write anywhere outside of the studio, you gotta write and then save it and then wait until you go to the studio the next day. And I think you lose that intensity that you had when you were writing it. For me when I write, I get excited. When I finish a verse I’m excited because I’m like, “Oh, that’s crazy, that’s dope.” So right away you want to lay it down. But if you gotta hold that intensity, that excitement, and you gotta bottle that up for two days until you go to the studio, it doesn’t come out the same. When I write a verse or when I write a song, I just go right into the studio and lay it right there immediately. I’d rather just be able to walk right into the booth as soon as I finish and lay it down as opposed to trying to save that energy and that excitement for a couple days.
DX: Now, The Great Debater is amazing to me because as always you don’t compromise your style or lyrical adeptness for popularity. At the same time, to call this a mixtape is unfair to you considering other artists typically only use it as a promotional tool. So for you, is there a difference between writing for a mixtape and writing for an album?
Skyzoo: Definitely. Difference being even with the mixtapes, if you look at The Great Debater, you look at Power Of Words or Corner Store Classic, these are all mixtapes that I gave away for free. The mixtape for me is just about having fun, just spitting for “ooohs” and “ahhhs” and having people hit the rewind button. Whereas an album, to me, it’s supposed to be more cohesive, more about the songwriting, more about concepts and conceptually driven things and things of that nature. So, a record like “Rap Like Me” or “Complicated Rhythm” or “Parade Me” may not have necessarily went on an album. Even though those are some of my favorite records on the tape, the form and just the way they come across, they’re more mixtape records. It’s the same way “For What It’s Worth” and “Shooter’s Soundtrack” and “My Interpretation” and records like that from The Salvation , I would never put those on a mixtape. I just feel like they serve two different purposes so the writing is definitely different between a mixtape and an album. Sometimes I come up with an idea or concept and I’ll say, “Let me hold this for the album, this is too much for a mixtape.” There’s definitely a difference between the two.
DX: Aside from a few tracks on Corner Store Classic, every project you’ve done since Cloud 9: The 3 Day High has been all original material; all original lyrics, all original beats. I’m assuming you must have hundreds of fresh records just sitting on your Macbook, don’t you?
Skyzoo: Well, all the records that I do have though are all stuff that you guys have heard. The thing about me, if there’s 16 songs on the project, I wrote and recorded sixteen songs. I’m not the type to record 40 songs and then chop it down to 15 and then the rest are just sitting around that you can put out a posthumous album later on. I’m not that type of artist.
There’s a story about 2Pac and Notorious B.I.G., where 2Pac would go into the studio, maybe do a hundred songs in a month or something like that. Five songs, ten songs a day and just pump them out. And then maybe 12 would make the album, and the rest of them are sitting around, thus why we have so many 2Pac albums after he passed away. Whereas B.I.G., there’s really no material after he passed. Born Again, a few records here and there, but they’re just piecing together verses we already heard. Reason being there’s a story that B.I.G. would feel like, “Oh, I don’t have to go to the studio today? Okay, I’m not going.” B.I.G. would be at the house, he’d be with his kids, he’d be hanging out in Brooklyn shootin’ dice, whatever it was. Shopping, buying cars, he’s living life when he wasn’t in the studio whereas 'Pac’s life was in the studio. So B.I.G. would only record when he had to record, and once he felt like he had enough material for a project, that was it. Everything he recorded pretty much made the album. And that’s how I am. Everything that I record, it makes the project.
DX: That’s a really interesting concept, and also it’s a bit foreign these days considering blogs and how people just post their track one day and then post a new track the next. I mean, people will put out mixtapes every month. For somebody to actually focus on one single record and do it the best instead of doing three or four records mediocre, that’s like a lost art these days.
Skyzoo: Yeah definitely. I don’t have a lot of random music just laying around where I could say, “Well these didn’t make the mixtape so I can send you these for your project” or send you these for this or that. I really don’t have a lot of that, it’s really just everything you hear is what I’ve recorded.
Skyzoo Breaks Down Some Of His Verses
DX: On The Great Debater as always you give your listeners the task of decoding some of your records. On “Could’ve Struck The Lotto” you rap, “All that we In Search Of is to Fly Or Die / So to have you Seeing Sounds that's inside the Sky / Is Nothing I suppose, so if I was alone / Then them sounds that you seeing is all that I really know.” First, hats off for referencing N*E*R*D’s whole musical catalog in two bars [Laughs].
Skyzoo: [Laughs] Yeah.
DX: And second, what did that latter part mean?
Skyzoo: As far as the references, I felt it was only right being that I was using their beat to shout them out in one way or another as opposed to saying, “Shout out to N*E*R*D, shout out to Pharrell.” I’d rather do it a more creative way. I’d rather do it in a way where either you may not have caught it, or you may have caught it. I was recording it with !llmind and he caught it right away. He was like, “Yo, that was really really cool how you did that man.” The minute I laid it down I watched him while I was recording and he started laughing when I said that part.
To get to the lines, when I say, “Them sounds that you seeing is all that I really know,” it’s two parts. The first part being I feel like when I make music you can see it. I’ve always said that. I’ve always said when I make records you can see it just as much as you can hear it. You can kind of close your eyes, listen to what I’m saying and you see everything that I’m telling you, like I’m painting a picture. With that being said, it’s pretty much everything I talk about is what I know. I only talk about things that I know, things that I’ve experienced and that I’ve dealt with on a first-hand basis. And I can portray it to you and convey it to you in a way where you get it so well because I know it. I can’t tell you how to run a play for the New York Giants because I never did that, but I can tell you how this happens where I’m from or what this is like because I know it. So, that’s all I really meant. It was just a cool way of me saying everything you hear on a record and potentially see on a record when you hear it from me is what I know. It was just a cool, complicated way of saying it.
DX: Alright. Now, the one record I really had a hard time deciphering was “Until It All Goes.” My own personal take was that when you say, “Hovering above all that you was glad to become” means your character dies, and then the line, “I was providing the urge to use it how you see it” means the person was using a gun. Am I far off on that?
Skyzoo: “I was providing the urge to use it how you see it.” You thought the person was using a gun?
DX: I thought it was a gun, but then I also thought it could have been drugs. So it was either or, I didn’t know for sure.
Skyzoo: Nah, I mean that record was about appreciation, or sometimes the lack thereof. I was kind of just saying give somebody roses when they’re alive to smell it. The record was along those lines. Being appreciated, or being under-appreciated as an artist, as an emcee, as a lyricist, whatever it is that people want to call me. And when I say, “I was providing the urge to use it how you see it / Blame it on the hindsight, knew it then you keep it,” you blame the fact that you don’t get it now, or you didn’t get it before in hindsight. You look at it like, “Aww man, if I would have knew back then what I know now.” I look at it like that with the music because a lot of people say, “Damn man I didn’t get it before but I get it now. It took me a while but I figured it out.” So, if you knew what it was then, you would have saw it as opposed to not seeing it for what it was and then having to look back in hindsight. That’s pretty much what the record’s about. It’s about appreciation and the lack thereof at times.
Like in the second verse I say, “Hovering above all that you was glad to become / Covering the snubs given, the few and far between / Nothing’s unnoticed but true to all we be.” It’s like, I feel like I do get a lot of love and a lot of appreciation but sometimes I do feel snubbed every once and a while. And to the people, whether it’s a website or magazine, don’t think that I didn’t see it. Don’t think that I didn’t notice it, don’t think that I didn’t hear about not being on this list or being on that list. When you know, in your heart of hearts, that I deserve to be on all of those lists, don’t think that I didn’t recognize that. But being the type of person that I am and the character that I have, I may not go on Twitter and black out on a website or magazine because I’m bigger and better than that. But please believe that situation is gonna get rectified sooner or later.
DX: I’m not gonna lie man, you got to put out like a supplementary audiobook where you’re just describing every record because I swear it would help all your listeners. [Laughs]
Skyzoo: You know, everybody says that. Everybody wants me to write a Decoded. They’re like, “Yo, you got to do a book where you break down The Salvation, you break down The Great Debater, Live From The Tape Deck .” And it something’s I’m definitely gonna do, I just feel like it’s something I’ll do later on when I think more people will be able to grab hold of it and more people will be in the know of who I am and what I do.
DX: One aspect of your lyricism that I’ve kind of caught onto is your references to The Wire. From Prop Joe to Bodie to that tactful sound bite you had on The Salvation, you keep it seamless and you keep it relevant. How has that show been an influence on your lyrical conception?
Skyzoo: The Wire to me is everything man. People ask me what do I like to do outside of music; The Wire and the NBA. I’m such a Wire fan, it’s ridiculous. I went to a Wire event when it was the final season. It was the last season of the show so it was like early 2007 and they had a big HBO party, VIP-only and it was literally the entire staff and cast and crew and I went. I’m real cool with Tristan Wilds, who played Michael on the show, I’m real cool with Julito McCullum who played Namond on the show. So I know a lot of the characters from there, Marlo and all those guys, so I was able to go. I was like a kid in the candy store. I wasn’t even Skyzoo, I was Skyler. When I met David Simon, I mean that was it. I felt like I met…It was just nuts, I can’t even describe it. Just meeting David Simon, taking a flick with him and just being like, “Yo, you have no idea what your writing means to me.” They’ll never be anything like it. I’m actually writing a show of my own, nothing like The Wire at all but I’m writing a show of my own that I’m planning to pitch soon. I get inspired by his writing and the degree of what it is. It’s just so amazing.
To get back to the question, I can relate to The Wire so much because I understand every single thing that they’re talking about in the show, like I relate to all of it. And if you listen to my music like “Necessary Evils” or “Shooter’s Soundtrack” or “Metal Hearts,” and then listen to Live From The Tape Deck with “Kitchen Table” or go to The Great Debater, there’s just so many records I’ve done in my career that you know the stuff that I’m talking about. It may be lyrical, it may be intelligent at times, but it’s about the same things that a lot of people connect to when it’s talked about. You know, I read on a YouTube comment one time where someone said, “Skyzoo is like Mos Def and The L.O.X. in one.” And I thought that was one of the best descriptions of what I do. I kick the same street stuff that The L.O.X. or Cam’ron or Young Jeezy kicks, I just do it in a really intelligent, wordy way, so it comes across differently. And the beats are different from what they would use. I felt that was really accurate, and I never looked at it like that until I read that. What I talk about is the same stuff Jeezy talked about on Thug Motivation 101, I just say it a little differently.
DX: The coincidence about The Wire is that I just started watching it for the third time a couple weeks ago and I just finished up season four, so it was really relevant when I was put to task to do this interview. And my personal favorite line from The Great Debater is when you say, “I’m more of the Stringer role / My part is to sling it low / From beyond beyond / Just keep me off the ringer yo.” When you said that line, I went crazy [Laughs].
Skyzoo: [Laughs] I appreciate it man. Yeah, with me I feel like I do what I do. It may be a little more laid back in the cut. I give them the music, I give them the lyricism, and there it is. It’s not a lot of bells and whistles, I’m not gonna go on Twitter and go on a rant. I’m not gonna go to the media and flip out over this, that and the third. I’m not gonna start a beef, nothing like that. I just think all that stuff is stupid. I’m cut from a different cloth where if you have problems or issues with people, you handle it directly and that’s it. You’ll never see me in the media flipping out. That’s just not me. I’d rather just handle it direct, cool, get it done, whatever it’s gonna be is what it’s gonna be and keep it moving. So that’s all that line was really saying. I do what I do and keep it moving.
And with “Get Him To The Greek” , that whole song is about skipping over the middle-man, like skipping over Prop Joe. With that, I just meant life in general, getting wherever it is that you’re trying to get to without having to deal with the middle-man that comes with a cost, comes with a price, gets in the way and comes with regulations or stipulations. So with me, obviously that’s the music, getting to that success. In that song, there’s a ton of references when Marlo was trying to get with Vondas. The entire song, literally almost every line is about those three or four episodes where Marlo was begging to get to the Greek and Vondas, and then he finally did it. “Innuendos of middle men in between / Littering through the dreams / Of trying to get to that z from this a.” It starts right away. That line is pretty much, I’m trying to get around Prop Joe. You tell me how to do and I’m gonna do it. And then I say, “Tell ‘em I be back tomorrow, my briefcase on the table / You can keep it, there's more where that came from if you playing.” I’ll come back every day with a briefcase until you’re ready to say, “Aight, fuck it let’s go.” And that’s what Marlo did. He went back to the diner every day with a briefcase and when Vondas tried to give it back to him, he said, “Nah, you keep that. There’s more where that came from.” So that’s what I was insinuating on that part. The whole record is about trying to get over Prop Joe and the middle man.
DX: Man, you can’t see it but I’m smiling ear to ear right now. I could honestly talk about The Wire all day, but let’s move on. The Great Debater came out recently and it was promoted a bit the past couple months. When did you actually begin working on the project?
Skyzoo: I started working on it, I want to say maybe late March to early April.
DX: That was fairly quick then. You said that Live From The Tape Deck was done in a month, so you work pretty fast.
Skyzoo: Yeah. When I get in the zone, I just go. What happened was that I was working on A Dream Deferred, which is my next album coming out and it is pretty much a follow-up to The Salvation. I was working on that, but I knew I wanted to work on a mixtape as well because I knew it would be a while before A Dream Deferred came out. And I had this idea for The Great Debater and the theme of it and where it would go, but I didn’t have any music done for it. So I was working on A Dream Deferred and had like four records done. And I just said you know what man, I just need to give the people something now. I’m working on an album that may not come out until early next year because I’m still getting everything together and figuring everything out. So I said let me put this on pause and knock out a project that can potentially come out immediately. I just literally stopped A Dream Deferred, put it on pause and went full steam ahead with The Great Debater. I changed my frame of mind as far as recording and the type of records I was making and what I wanted to do. And I recorded the whole thing with !llmind. He recorded, mixed and mastered the entire project. !llmind lives up the block from me in Brooklyn, so I would literally just walk up the block to his house and knock out records.
DX: Being your first official album, the records on The Salvation were very personal. The next release was Live From The Tape Deck which was basically lyrical exercise at its finest. How would you categorize The Great Debater?
Skyzoo: It’s definitely not like The Salvation at all. I wouldn’t even attempt to compare the two or say which one is better, because like you said, The Salvation is extremely personal. I had no goals of just being lyrically crazy as far as ‘spittin’ records.’ I call them that, like a “Frisbees” or anything like that. There’s one record like that on The Salvation which is “Penmanship” but other than that I didn’t have any desires to do that. My idea with The Salvation was to tell my story, but do it lyrically. The Great Debater is just a really awesome mixtape, and people are looking at it like an album. They’re like, “Yo, this shit is not a mixtape at all, it’s an album.” And I appreciate that. I would say it’s definitely the most lyrical project I’ve done to date. I was with Torae recently just hanging out, and he was like, “Man, that Great Debater project, it’s almost like you rapped too much because it’s just so stacked with bars.” Every single bar there’s an entendre, a metaphor, there’s a double entendre, it’s connected to the last line, etc. There’s just no breathing room. That’s how stacked this project is. And he was saying that’s a great thing. So I guess I did that on purpose.
DX: You just mentioned Torae, and I want to make it public record that if a Barrel Brothers album doesn’t surface within the next couple years I’m holding that against you guys [Laughs].
Skyzoo: [Laughs] Yeah man, a lot of people want to see that. And I think it would be dope. He’s got a bunch of things that he’s working on right now. He’s got the album that he’s finishing up on as we speak. It’s a real real crazy album too. From what he’s told me, it’s like his debut, like how I did The Salvation. It’s his story and he’s telling what he wants to get off and where he’s at. We are both in the middle of our own endeavors, but who knows man, anything can happen.
DX: I gotta say what you did with Torae and DJ Premier for “Click” and “Get It Done” , and both of those records first appeared on Corner Store Classic and then Torae’s Daily Conversation , that was unprecedented at the time. I mean, as emcees you both were starting to make that transition from promising underground acts to lyrical savants. Tell me about that experience.
Skyzoo: It was real dope. It was definitely an honor for Torae and I to make two records with [DJ Premier]. There’s a lot of rappers that don’t get the opportunity to get one beat, and we got two. And we got them back to back. So it was like we were in there one month, and maybe two months later we was in there doing another one.
It’s a great way for you to get people to pay attention to your name. We had things going on individually. I had Cloud 9 out and Torae had some records out and we were really on that New York scene, just running the circuit whether it was shows, open mics, really just paying dues. And to have those records, people were like, “Oh word? I’ve never heard of you but I want to hear you now.” It was definitely a good experience for the time being, just to be able to make those records come out and hit people with them.
DX: And at that time, being that DJ Premier is a legend of a producer, was he giving you tips on rapping or did he give you free range of what you wanted to do?
Skyzoo: We just did what we wanted. Delivery-wise, he may tell you to spit a line over or your punch line may not have come off too clean. He’ll be like, “Let me get that line one more time.” But as far as concepts and rhymes, it was whatever we did. We both sat there, pen and paper. I was on one end of the couch, he was on the other end, and we were just writing and laid it down.
DX: And that makes more sense because the fact of the matter is, DJ Premier can essentially work with anybody he wants. So, he likely wouldn’t work with people that he would have to coach in the studio.
DX: You’ve discussed the amount of praise and response you receive when you go to places like China and Europe, and that seems to be a similar theme for other artists that cater to a true school Hip Hop scene such as an Alchemist or a Black Milk. With that said, would you ever consider moving overseas for a time to record?
Skyzoo: I don’t know if I would move there for a long enough time where I would consider it a real move, but I’m definitely not opposed to spending a month or so. I’ve been to China, I did Canada, and I headlined in both of those places and that was awesome. I actually haven’t had the liberty to do Europe yet, which blows everybody away. They’re like I can’t believe you haven’t been out there yet. But I’m definitely dying to get out there because I’ve heard my fanbase is crazy. I’ve seen it through Twitter and back when MySpace was poppin’ I saw it there. Even the Soundscans, we look at the numbers sold and we see how many come from overseas. It’s there, we’re just trying to set everything up and get over there A.S.A.P. if we can. I would definitely go over there for a month, month and a half and tour. Maybe do some recording, work with some dope producers and knock out a project.
Skyzoo On Plans To Play Tribute To Jay-Z's Reasonable Doubt
DX: You’ve expressed an interest in doing an ode to Jay-Z's Reasonable Doubt. With what Elzhi did with Elmatic , would you consider doing something similar with a live band?
Skyzoo: You know, I wanted to do that man. And [Elzhi] is a good friend of mine, shout to Elzhi. We had always kept in touch through email and text but I had never met him till last year when he was in Brooklyn and we chopped it up. We’re definitely gonna do some work. Like every day, I get over 20 tweets of people saying, “Yo, you and Elzhi gotta do a record.” So I know it’ll happen sooner or later, it’s just something we gotta figure out.
But yeah, I didn’t know he was gonna do [Elmatic] with a band and then when it came out I heard it. I was like, this is so awesome, but I was like damn that was the same place I was gonna take it. So I’m figuring out if I’m gonna do it with a band or not, because I definitely want to respect the fact that El did it that way and he did an awesome job at it. An ode to Reasonable Doubt is coming for sure. That’s gonna happen before the year is over.
DX: Looking further into the future you mentioned A Dream Deferred will be the second album and it picks up where The Salvation ends with “Maintain.” Earlier you talked about doing around three to four records thus far and then you jumped into The Great Debater, but how much work do you expect to do on that? Is it gonna be around 15 to 16 records like The Salvation?
Skyzoo: Yeah, it will be a full album. It won’t be more than 16 but it will definitely be a complete album. And yeah, it picks up right where the theme of “Maintain” left off. I feel like Live From The Tape Deck was an in between project that we didn’t even know was gonna come about. It was something that Dru Ha and Duck Down [Records] brought to our attention. They were like, “What if you guys did something together?” And !llmind and I being friends for years, we figured yeah we should, and it immediately started. If it wasn’t for Dru, that album would have never gotten made.
A Dream Deferred is crazy so far where it’s at and with the things I have in mind for it, the ideas and sonically where it’s going to go. There’s some stuff on there that’s really going to be special. So yeah I got about three records done for it. I got a couple beats sitting around that I’m definitely gonna use. But I just got a Blackberry full of ideas and concepts and song titles and stories. Now I just gotta get the beat, sit down and just write it. It’s gonna be real special.
DX: You mentioned three records are done. Are those all with !llmind or do you have other producers on tap?
Skyzoo: Two are with Best Kept Secret, one is with !llmind, and those are all completely done. Then I got a beat from S1 that’s really really ridiculous. And I got a beat from this production duo named Christian Rich who are real dope. They’re actually with Pharrell and Chad [Hugo] and Star Trak. They gave me a really awesome track for the album, so I’m looking forward to that. And I’m just gonna start collecting more beats for a while.
DX: You usually stay within the realm of producers that you typically work with such as !llmind, Eric G, Best Kept Secret and 9th Wonder. Are you gonna be expanding in terms of your sound? Because somebody like Christian Rich wouldn’t be someone you’d normally work with, but it sounds like you’ve found a good chemistry with them.
Skyzoo: Oh yeah, absolutely. I’ve known those guys for a little while and they’re real dope dudes. They’re with Pharrell and all those guys for a reason, they’re really talented in that world of sound. So it’s just more so expanding the sound, and I always tell people, I’m gonna rhyme the way I rhyme regardless. No matter who made the beat, what type of beat it is, what genre of Hip Hop the beat may fall under, the rhymes are gonna be what they are. I’m still gonna spit just as crazy, but also cater to the beat and fit the story to what the beat tells.
Writer’s note: Skyzoo will be hosting a live Ustream to talk about The Great Debater on Thursday (6/23) at 8 p.m. (EST), as well as take questions from inquiring fans about lyrics and themes concerning his latest mixtape. Follow him on Twitter @TheRealSkyzoo for more details on “Breaking Down The Debate.”