A few weeks ago I was privileged enough to interview Detroit rapper Frank Nitt. What you are about to read is the product of that interview. It is not suitable for all audiences. Proceed with caution.
“This is rapper shit right here…” –Frank Nitt
First things first… Who are you as an artist? Who are you as a person? What do you want people to know?
As an artist Frank Nitt is one half of the Detroit crew Frank ‘n’ Dank. Hailing from Detroit, but everybody should know that (from the previous comment). Detroit is pretty popular these days, is what I’m finding out. You know, that’s really about it. I’ve been doing Hip Hop for- first record out in 98 I think it was, so for 12 or 13 years I’ve been an actual artist putting music out to the public, not just making it in my house. You know, that’s really about it. The history is there.
“I make records. I’m not a battle MC. . . I can make a record. If you want to make a record, call me up.” –Frank Nitt
L.O.V.E. the latest and greatest, but it’s a little bit different than what we are used to from you. What was behind that?
A lot of people just don’t know that musically I am all over the place. You know what I mean? Like, if I started playing things that were unreleased, you would hear a whole range of music, from up tempo, being 140 BPMs, to the normal things that people are used to from me. My range is all over the place. I listen to pop music, and rock, and rap, and country music - I listen to anything that sounds good to me. So, I draw from a little bit of everything as well.
Me doing L.O.V.E. when I did it was – it wasn’t a second thought from me. It was just me and Terrace Martin in the studio and J. Black had laced these crazy chords/vocals, and I just jumped in there and did what I do. So, it wasn’t really like a thought of ‘oh, I’m trying to be different’, it was just really – it was a natural thing. I guess musically it’s different for people, but you know, that’s the vibe we had going that that moment.
L.O.V.E. is the latest song/video put out by Frank Nitt, which can be viewed here:
“We’ve made good music…” –Frank Nitt
Prior to L.O.V.E. you came out with Concert Hall, and that was a little different too. It was a pretty dramatic sound. Talk to me about it.
It was a different sound for me, but that was the purpose. As a solo artist, people are used to me in the Frank ‘n’ Dank kind of – in that realm. You know what I’m saying? So when I decided to do the solo tape, I wanted to do something different, and I wanted to touch on certain subjects. You know, people call us party MCs, and that’s good, it feels good to be able to rock a party. For us, a lot of our shows are filled with girls because of the records we put out. We put out records that girls can, you know, dance to, and even though we’re real raunchy on those records, I love the ladies for stepping up and being a little on edge. It ain’t all lovey dovey, you know? I might smack it up and flip it one time, you know what I’m saying? (intense laughter ensued from both parties)
So, even though I couldn’t totally turn away from that (part MC title), because that would be foolish on my part, I didn’t want to just repeat Frank ‘n’ Dank again with just Frank. That makes no sense.
So, I looked to change the sound up, and then, even some of the subject matter. We got like, sort of political songs with the ‘N-Word’ record, know what I mean? Relationships and different things on the ‘Stop Calling’. It’s five different subject matters for me. So that was the purpose of that, and then the whole larger scheme, the album will be Stadium Music. To everyone that doesn’t know, a concert hall is basically a small stadium, and that’s why it (Concert Hall) was just an EP, and then Stadium Music will be the full length. All I’m saying is I was trying to go with a new sound with Concert Hall and even with L.O.V.E. It was an opportunity to mess with something that was a different, cleaner, more radio friendly sound, and to have Terrace (Martin) come through with that, and obviously being able to get DJ Quick on the record and have him mix and match things, took it over the edge with me.
You can purchase Concert Hall from iTunes here: Frank Nitt - Concert Hall
“This is rapper shit right here…” –Frank Nitt
First things first… Who are you as an artist? Who are you as a person? What do you want people to know?
As an artist Frank Nitt is one half of the Detroit crew Frank ‘n’ Dank. Hailing from Detroit, but everybody should know that (from the previous comment). Detroit is pretty popular these days, is what I’m finding out. You know, that’s really about it. I’ve been doing Hip Hop for- first record out in 98 I think it was, so for 12 or 13 years I’ve been an actual artist putting music out to the public, not just making it in my house. You know, that’s really about it. The history is there.
“I make records. I’m not a battle MC. . . I can make a record. If you want to make a record, call me up.” –Frank Nitt
L.O.V.E. the latest and greatest, but it’s a little bit different than what we are used to from you. What was behind that?
A lot of people just don’t know that musically I am all over the place. You know what I mean? Like, if I started playing things that were unreleased, you would hear a whole range of music, from up tempo, being 140 BPMs, to the normal things that people are used to from me. My range is all over the place. I listen to pop music, and rock, and rap, and country music - I listen to anything that sounds good to me. So, I draw from a little bit of everything as well.
Me doing L.O.V.E. when I did it was – it wasn’t a second thought from me. It was just me and Terrace Martin in the studio and J. Black had laced these crazy chords/vocals, and I just jumped in there and did what I do. So, it wasn’t really like a thought of ‘oh, I’m trying to be different’, it was just really – it was a natural thing. I guess musically it’s different for people, but you know, that’s the vibe we had going that that moment.
L.O.V.E. is the latest song/video put out by Frank Nitt, which can be viewed here:
“We’ve made good music…” –Frank Nitt
Prior to L.O.V.E. you came out with Concert Hall, and that was a little different too. It was a pretty dramatic sound. Talk to me about it.
It was a different sound for me, but that was the purpose. As a solo artist, people are used to me in the Frank ‘n’ Dank kind of – in that realm. You know what I’m saying? So when I decided to do the solo tape, I wanted to do something different, and I wanted to touch on certain subjects. You know, people call us party MCs, and that’s good, it feels good to be able to rock a party. For us, a lot of our shows are filled with girls because of the records we put out. We put out records that girls can, you know, dance to, and even though we’re real raunchy on those records, I love the ladies for stepping up and being a little on edge. It ain’t all lovey dovey, you know? I might smack it up and flip it one time, you know what I’m saying? (intense laughter ensued from both parties)
So, even though I couldn’t totally turn away from that (part MC title), because that would be foolish on my part, I didn’t want to just repeat Frank ‘n’ Dank again with just Frank. That makes no sense.
So, I looked to change the sound up, and then, even some of the subject matter. We got like, sort of political songs with the ‘N-Word’ record, know what I mean? Relationships and different things on the ‘Stop Calling’. It’s five different subject matters for me. So that was the purpose of that, and then the whole larger scheme, the album will be Stadium Music. To everyone that doesn’t know, a concert hall is basically a small stadium, and that’s why it (Concert Hall) was just an EP, and then Stadium Music will be the full length. All I’m saying is I was trying to go with a new sound with Concert Hall and even with L.O.V.E. It was an opportunity to mess with something that was a different, cleaner, more radio friendly sound, and to have Terrace (Martin) come through with that, and obviously being able to get DJ Quick on the record and have him mix and match things, took it over the edge with me.
You can purchase Concert Hall from iTunes here: Frank Nitt - Concert Hall
Listen to ‘N-Word’ here:
“You gotta have a certain hop to like my beats. If you like my beats, you gotta certain bounce to you.” –Frank Nitt
So I recently listened to your beat tape, and I liked what I heard. The beats. . . they’re dark, not real up tempo. Can you tell me about where you were coming from, and your plans for that beat tape?
Nah, I’m not a big up tempo guy. I mean, I’ll rhyme up tempo, don’t get me wrong, and I’ve made some up tempo beats, like this new project I’m doing, the Orio Circus, there’s some up tempo beats on there, you know, over 100 BPMs, so there’s some up tempo stuff on there. That’s just me, man. For me, I concentrate on the drums, the drums are what drive me. If you listen to most of my beats, the drums are slappin’. . . some people might say too loud. So, low key, for those beats, if someone just happens to want to rap on them, they can.
I’m all about building things. Anything given to me, I want to build a strong foundation, and that way it’ll last for a while, you know? I’m not really known for production or any of that type of thing, so right now the beats are just for people to- if they vibe to them and want to use them, you know, just get the name out there with that.
I never had to be a producer- I had Dilla right there my whole career. And if I didn’t have him, he had aligned me with so many great producers that I’ve never really felt the need to be a producer. Until I ended up in China somewhere, and, wasn’t doing a show, and didn’t have anything else to do. All the beats I had belonged to dudes that I couldn’t just get music out of. I couldn’t just say let me find a studio here in China and go do some music because there wasn’t- there was paperwork I had to go through, politics I would have to go through to make it happen. And that’s cool, they have this paperwork policy, and that’s cool, but, not when I want to create. . . because I just want to create. So, you know, from that point on, it was like- it was bugged out because it was like shortly after Dilla had passed, and while I was out there (in China) Proof passed away. It just kind of made me feel like, man, I need to step it up. You know what I’m saying? I need to become more self sufficient, more able to create music on my own. Hence, me on the beats.
“I’m either going to be a really good husband or Hugh Hefner.” –Frank Nitt
What does the future hold for you? What do you want 2010 to look like?
As we speak right now, (the) US Delicious Donuts tour (is) being planned with me and Illa J headlining (they are currently in Europe doing the Delicious Donuts tour). My solo record, of course, I’m working on that. Right now, as we speak, I’m on my way to the studio for the Orio Circus project with me and another MC/producer from out this way by the name off Grim Ace. He’s relatively new on the scene I would imagine, but he’s doing his thing. He’s also a photographer, and an all around artist of all trades. So, we somehow linked up, through mutual friends, and sat down (and talked). It was an opportunity where I was either leaving LA or staying in LA, and he was like, you can stay here, and while you’re here, let’s make something.
Being that I’m kind of a free spirit in that sense, a nomad for that matter, me just kind of being out in the world, it’s good for me, it’s kind of what I do. So, that was right up my alley, to have a spot away from MI, away from Detroit, where I could be, and create music, and try and work on something, because I like to create music for stuff. I mean, it’s cool to just do it, but I don’t really have that luxury anymore because I don’t do anything else. So I’ve got to be working towards something all the time. So, we sat down and we came up with the Orio Circus.
Also, a new Frank ‘n’ Dank record is coming, that I’m going to probably have some of the production credits on. I’ve got things in the works. I’ve got Madlib projects in the works, I did some work with Oh No, I did some work with Babu, you know, Rhettmatic’s still got an EP sitting over there. I got stuff everywhere. I’m trying to keep it moving but, we’ll see.
“I keep it hood though. . . it’s just that my hood is becoming more adult.” –Frank Nitt
Let’s take it back. . . how did all this shit get started?
Well, with the good old guys in the great Slum Village. I started off as a dancer, when I was a young, young, young guy. I was a breaker, and this was before I met Dilla, or Slum, or even Dank for that matter. I used to live in a neighbor in Detroit that was kind of- it was me and another black kid (it was a mostly Latin neighborhood). One of the homeboys, this Puerto Rican cat, from New York, his family just happened to move to Detroit, and he was a breaker. He was a little older than me, I was a young kid, but I could break. I was pretty good, so I was like the secret weapon. It ended up being a crew. . . a Spanish break dancing crew. . . and we would go and battle. Like on the weekends we would go to bank parking lots, like at night, and spot lights would shine like in the middle of the parking lot, and we would literally come out there with a big radio and a big roll of linoleum, lay it out, and be having battles in the parking lot. I got in so much trouble for coming home late, but I won the battles, so I didn’t care.
That’s kind of where it started for me as far as Hip Hop goes. That’s where I fell in love. I was really young so, my only real experience up to that point was my brothers bands. My brothers were both drummers, and they had bands in the basement when I was a kid or whatever, whatnot. So, it was that, and, you know, Prince, and Parliament, and Michael Jackson. Then I found Hip Hop, and it developed. Then from there, I moved out of that neighborhood, and the next neighborhood I moved into was where I met Dank, where I met Dilla, and that whole crew, and Dilla taught me how to DJ at his mommas crib on this old big ass ancient stereo. He taught me how to transform. From there I started DJing, and then me and Dilla for years, like through middle school and high school, we DJd parties, school dances, house parties for all the homies, like we were the DJs.
Then you know, from there, Dilla picked up the beats and started rhyming. It just evolved until one day I was in high school, and you know, slum, me, QD, slum village, well, yeah basically, not Elzhi, but Baatin, T3, and Dilla, we all went to high school together at some point. So, you know, we used to beat on the tables and rap, you know, the old school shit. That’s how we came up. T3 then said that I should try and rap. So, I went home, wrote my little rap, came back at lunch, did it, and they were like ‘aaaaaahhhhh man, you can rap!’. So, that was it, I started rapping.
So I recently listened to your beat tape, and I liked what I heard. The beats. . . they’re dark, not real up tempo. Can you tell me about where you were coming from, and your plans for that beat tape?
Nah, I’m not a big up tempo guy. I mean, I’ll rhyme up tempo, don’t get me wrong, and I’ve made some up tempo beats, like this new project I’m doing, the Orio Circus, there’s some up tempo beats on there, you know, over 100 BPMs, so there’s some up tempo stuff on there. That’s just me, man. For me, I concentrate on the drums, the drums are what drive me. If you listen to most of my beats, the drums are slappin’. . . some people might say too loud. So, low key, for those beats, if someone just happens to want to rap on them, they can.
I’m all about building things. Anything given to me, I want to build a strong foundation, and that way it’ll last for a while, you know? I’m not really known for production or any of that type of thing, so right now the beats are just for people to- if they vibe to them and want to use them, you know, just get the name out there with that.
I never had to be a producer- I had Dilla right there my whole career. And if I didn’t have him, he had aligned me with so many great producers that I’ve never really felt the need to be a producer. Until I ended up in China somewhere, and, wasn’t doing a show, and didn’t have anything else to do. All the beats I had belonged to dudes that I couldn’t just get music out of. I couldn’t just say let me find a studio here in China and go do some music because there wasn’t- there was paperwork I had to go through, politics I would have to go through to make it happen. And that’s cool, they have this paperwork policy, and that’s cool, but, not when I want to create. . . because I just want to create. So, you know, from that point on, it was like- it was bugged out because it was like shortly after Dilla had passed, and while I was out there (in China) Proof passed away. It just kind of made me feel like, man, I need to step it up. You know what I’m saying? I need to become more self sufficient, more able to create music on my own. Hence, me on the beats.
“I’m either going to be a really good husband or Hugh Hefner.” –Frank Nitt
What does the future hold for you? What do you want 2010 to look like?
As we speak right now, (the) US Delicious Donuts tour (is) being planned with me and Illa J headlining (they are currently in Europe doing the Delicious Donuts tour). My solo record, of course, I’m working on that. Right now, as we speak, I’m on my way to the studio for the Orio Circus project with me and another MC/producer from out this way by the name off Grim Ace. He’s relatively new on the scene I would imagine, but he’s doing his thing. He’s also a photographer, and an all around artist of all trades. So, we somehow linked up, through mutual friends, and sat down (and talked). It was an opportunity where I was either leaving LA or staying in LA, and he was like, you can stay here, and while you’re here, let’s make something.
Being that I’m kind of a free spirit in that sense, a nomad for that matter, me just kind of being out in the world, it’s good for me, it’s kind of what I do. So, that was right up my alley, to have a spot away from MI, away from Detroit, where I could be, and create music, and try and work on something, because I like to create music for stuff. I mean, it’s cool to just do it, but I don’t really have that luxury anymore because I don’t do anything else. So I’ve got to be working towards something all the time. So, we sat down and we came up with the Orio Circus.
Also, a new Frank ‘n’ Dank record is coming, that I’m going to probably have some of the production credits on. I’ve got things in the works. I’ve got Madlib projects in the works, I did some work with Oh No, I did some work with Babu, you know, Rhettmatic’s still got an EP sitting over there. I got stuff everywhere. I’m trying to keep it moving but, we’ll see.
“I keep it hood though. . . it’s just that my hood is becoming more adult.” –Frank Nitt
Let’s take it back. . . how did all this shit get started?
Well, with the good old guys in the great Slum Village. I started off as a dancer, when I was a young, young, young guy. I was a breaker, and this was before I met Dilla, or Slum, or even Dank for that matter. I used to live in a neighbor in Detroit that was kind of- it was me and another black kid (it was a mostly Latin neighborhood). One of the homeboys, this Puerto Rican cat, from New York, his family just happened to move to Detroit, and he was a breaker. He was a little older than me, I was a young kid, but I could break. I was pretty good, so I was like the secret weapon. It ended up being a crew. . . a Spanish break dancing crew. . . and we would go and battle. Like on the weekends we would go to bank parking lots, like at night, and spot lights would shine like in the middle of the parking lot, and we would literally come out there with a big radio and a big roll of linoleum, lay it out, and be having battles in the parking lot. I got in so much trouble for coming home late, but I won the battles, so I didn’t care.
That’s kind of where it started for me as far as Hip Hop goes. That’s where I fell in love. I was really young so, my only real experience up to that point was my brothers bands. My brothers were both drummers, and they had bands in the basement when I was a kid or whatever, whatnot. So, it was that, and, you know, Prince, and Parliament, and Michael Jackson. Then I found Hip Hop, and it developed. Then from there, I moved out of that neighborhood, and the next neighborhood I moved into was where I met Dank, where I met Dilla, and that whole crew, and Dilla taught me how to DJ at his mommas crib on this old big ass ancient stereo. He taught me how to transform. From there I started DJing, and then me and Dilla for years, like through middle school and high school, we DJd parties, school dances, house parties for all the homies, like we were the DJs.
Then you know, from there, Dilla picked up the beats and started rhyming. It just evolved until one day I was in high school, and you know, slum, me, QD, slum village, well, yeah basically, not Elzhi, but Baatin, T3, and Dilla, we all went to high school together at some point. So, you know, we used to beat on the tables and rap, you know, the old school shit. That’s how we came up. T3 then said that I should try and rap. So, I went home, wrote my little rap, came back at lunch, did it, and they were like ‘aaaaaahhhhh man, you can rap!’. So, that was it, I started rapping.
Being that me and Dilla were tight, I honed my skills kind of just being around him while he was honing his skills. He was just more advanced then all of us. He was the best MC, he was the best beat maker, he was just the best at every God damn thing. You know what I’m saying? So, he was so far advanced from everybody that he was designated kind of the leader. Like, Slum was the bigger group, like the leader (group) of the group of our crew, but Dilla was kind of the unofficial leader (of everyone). He jumped off first. He got on first, and that Pharcyde record and that Tribe hook up and all of that, first. So, you know. . . I was Dilla’s right hand man. Ask anybody in the crew. I had to go everywhere.
At some point, before I had a record deal, before I had any records out, I wasn’t working. I quit working a job and it was all music all the time, but it was only because I was with Dilla everyday. Know what I’m saying? Like, every morning he’d call like ‘Frank, wake yo’ ass up, I’m coming to pick you up right now.’, and I got to get in whatever car is out there in the yard. You know? It was a couple years before Frank ‘n’ Dank was a group, but Dank still had a regular day job, and in the hood grimy, and doing all types of hood shit. Where me and Dilla were out, we was gone, traveling with Slum.
If he’d go to Cali, he’d be flying me to Cali. If he was in New York, he’s going to have me. It got so bad that Common was calling me- not Dilla. Common was like ‘Hey, Frank, I just booked your ticket so you could be here, so you have to get on a plane tomorrow and, we’ll see you in New York tomorrow.’ I’ve had like a weird ride in Hip Hop, you know what I’m saying? I was able to mix and mingle and deal with people like that were stars- stars then, and stars now. And you know, it was before I had a record, before I got to see so much, and maybe that’s why I am the way I am. But, I got to be around these great people, I got to, you know, rub elbows, with the greats. Some of my favorite MCs. Just all types of craziness. It was a great thing. So, the start really came way back when, as an MC with Slum, in high school, at the lunch table.
From there, once we did ‘Pause’, things were kind of given a different perspective. Up until that point, there wasn’t really anything- like, it was funny, it was like we were just making records for ourselves. Even the singles (that came out before ‘Pause’), like we kind of put those out, but we didn’t like- if I had a single right now, all the things I do to have a single right now, I didn’t even think about back then. Like, no press, no trying to get interviews, no anything to even make people aware that this music was out. It was just ‘we gon’ put it out’. It was just out. It was like, we took it at that, we were just into being. We were kind of in a bubble because of Dilla.
At some point, before I had a record deal, before I had any records out, I wasn’t working. I quit working a job and it was all music all the time, but it was only because I was with Dilla everyday. Know what I’m saying? Like, every morning he’d call like ‘Frank, wake yo’ ass up, I’m coming to pick you up right now.’, and I got to get in whatever car is out there in the yard. You know? It was a couple years before Frank ‘n’ Dank was a group, but Dank still had a regular day job, and in the hood grimy, and doing all types of hood shit. Where me and Dilla were out, we was gone, traveling with Slum.
If he’d go to Cali, he’d be flying me to Cali. If he was in New York, he’s going to have me. It got so bad that Common was calling me- not Dilla. Common was like ‘Hey, Frank, I just booked your ticket so you could be here, so you have to get on a plane tomorrow and, we’ll see you in New York tomorrow.’ I’ve had like a weird ride in Hip Hop, you know what I’m saying? I was able to mix and mingle and deal with people like that were stars- stars then, and stars now. And you know, it was before I had a record, before I got to see so much, and maybe that’s why I am the way I am. But, I got to be around these great people, I got to, you know, rub elbows, with the greats. Some of my favorite MCs. Just all types of craziness. It was a great thing. So, the start really came way back when, as an MC with Slum, in high school, at the lunch table.
From there, once we did ‘Pause’, things were kind of given a different perspective. Up until that point, there wasn’t really anything- like, it was funny, it was like we were just making records for ourselves. Even the singles (that came out before ‘Pause’), like we kind of put those out, but we didn’t like- if I had a single right now, all the things I do to have a single right now, I didn’t even think about back then. Like, no press, no trying to get interviews, no anything to even make people aware that this music was out. It was just ‘we gon’ put it out’. It was just out. It was like, we took it at that, we were just into being. We were kind of in a bubble because of Dilla.
We got to see so much, and like, Frank ‘n’ Dank was like, not only signed artists and the artists he (Dilla) was dealing with, we were friends. I was there when Dilla got his first beat machine, you know? Like, his father used to put me out, like scream at me ‘Frank, get yo’ ass out my house! What is all that noise coming from up here? Get out! Go Home!’. Today, that’s still my family. . . Like we still laugh about it now, you know what I’m saying? So it’s like, for us, we were kind of in a bubble. We got to see things from a very, very special view. It’s a little crazy.
“Everybody should support good music. . . I’m going to be putting a whole bunch of it out real soon, so support that…” –Frank Nitt
So. . . you already know this is coming. Tell me something about Dilla.
It’s a lot of different ways to approach that question, or approach that statement. People don’t really understand like, everybody knows the music guy, and I know that guy too, but I know the personal guy. I know how he really perceived things, and how he really got down.
I’ll just say that, there ain’t nobody that worked harder than him. Like, I’ve literally seen him work till his fingers were bleeding. He would go lay down, and then put band aids on all his fingertips and then go back to work. You know what I’m saying? Like, all the music he did- it sounded like he did something really simple. It sounded simple to you (hearing it) because he had a way of making it digestible, very easily digestible. But the work that he did to get to that point- unparalleled. I don’t know anybody- I haven’t seen anybody work like he worked.
This is from high school, like he would skip school to stay in the basement and work. It wasn’t like he was skipping school and having fun. He was in the basement making beats. He was at a different school because, Dilla, he was kind of like a smart kid, know what I’m saying? He was really, really smart, and he went off to a aerospace high school where they teach you how to build and maintenance planes and all types of craziness. . . as well as your regular curriculum.
By tenth grade, he was like ‘I ain’t going to school’. Like, his parents had to leave before him (in the mornings), so he ain’t going to school, he’s going to stay there and bang on the machine in the basement, and then when his parents come home, he’s going to put on some clothes, and make it look like he went to school. . . and then came home from school. . . and is back in the basement working. Nah, that nigga ain’t never left. As a matter of fact, I came there at lunch time and heard the new creations. Ain’t nobody work harder than him. I haven’t seen anybody work harder than him. I’ve seen some people work, but, not like him.
“I’m a new age MC. I’m like a well rounded guy. It ain’t just hood, it ain’t just suburban, I got a bit of every God damn thing. MC’s gotta become more worldly.” –Frank Nitt
Who are some people you have worked with that really stood out to you?
I’ve been lucky. Somebody like Madlib- it’s crazy, just the sheer amount of work that he does, and the way he works is crazy. And then, for the quality level to be up where it’s at, because he’ll literally like- I’ll say ‘Madlib lets meet, I need some beats’, cause we’re working on an album, like, a Madlib - Frank Nitt album right now. But that’s hard work cause getting’ him in the studio. I’ll say ‘Madlib, let me get some beats’ and you know, I’m used to Dilla beat tapes, 20 beats, 25 if you’re lucky. But he poured over those 25. Madlib will give you three CD’s with 200 beats on them. AND they’re going to have skits and everything too. Mad is crazy. He’s an evil genius.
One of my favorite MC’s ever on the planet is Busta Rhymes. I’ve always been a huge fan of Busta as an MC. It ain’t about what he’s saying, per se, even though he says some crazy shit too. I think it’s more his style, like, he’ll bend styles in one verse. He’ll have 3, 4 different flows in a verse. If you go back and listen to my verses in that context, I do the same thing. You know what I mean? Busta Rhymes can rhyme on anything, he don’t have to pass on nothing. Only thing he has to pass on is the shit he don’t like.
“I sound like I’m kinda smart a little bit” –Frank Nitt
What have you learned about you?
I just learned that life is just bigger than everything that’s in front of your face. There’s always more. You don’t start living till you realize there is always something more going on. It doesn’t matter how involved in your shit that you are, there is always something bigger, something greater than you. Keep your eyes open and keep pushing forward.
So that concludes my very interesting/informative interview with Detroit rapper Frank Nitt. I can honestly say he is one of the nerdiest, most down to earth, all around cool people I have met in the music industry, and if you haven’t yet, you should really give his music a listen, cause he has made some pretty classic shit. On that note, I’ll just leave you with these:
“I’m a little older, like, I’ve been making records for a while, and, its not that I don’t want the kids to by my records, I want that, they should, you know what I’m saying? I think they’re good records. But, I think they would lose respect for me if I’m trying to be like them and I’m the old man in the room. I ain’t 17. I ain’t 18, I ain’t even 19. Even though I may look like I’m 22. As an MC, we’ve got to grow up. If you want to keep rapping, you’ve got to own your grown man. You can’t be a grown man trying to be a kid, you’ve got to be a grown man.” –Frank Nitt
“Big shout out to Delicious Vinyl and everybody over there. . .” –Frank Nitt
“I’m on the rappers diet. . . (McDonalds)” –Frank Nitt
“Everybody should support good music. . . I’m going to be putting a whole bunch of it out real soon, so support that…” –Frank Nitt
So. . . you already know this is coming. Tell me something about Dilla.
It’s a lot of different ways to approach that question, or approach that statement. People don’t really understand like, everybody knows the music guy, and I know that guy too, but I know the personal guy. I know how he really perceived things, and how he really got down.
I’ll just say that, there ain’t nobody that worked harder than him. Like, I’ve literally seen him work till his fingers were bleeding. He would go lay down, and then put band aids on all his fingertips and then go back to work. You know what I’m saying? Like, all the music he did- it sounded like he did something really simple. It sounded simple to you (hearing it) because he had a way of making it digestible, very easily digestible. But the work that he did to get to that point- unparalleled. I don’t know anybody- I haven’t seen anybody work like he worked.
This is from high school, like he would skip school to stay in the basement and work. It wasn’t like he was skipping school and having fun. He was in the basement making beats. He was at a different school because, Dilla, he was kind of like a smart kid, know what I’m saying? He was really, really smart, and he went off to a aerospace high school where they teach you how to build and maintenance planes and all types of craziness. . . as well as your regular curriculum.
By tenth grade, he was like ‘I ain’t going to school’. Like, his parents had to leave before him (in the mornings), so he ain’t going to school, he’s going to stay there and bang on the machine in the basement, and then when his parents come home, he’s going to put on some clothes, and make it look like he went to school. . . and then came home from school. . . and is back in the basement working. Nah, that nigga ain’t never left. As a matter of fact, I came there at lunch time and heard the new creations. Ain’t nobody work harder than him. I haven’t seen anybody work harder than him. I’ve seen some people work, but, not like him.
“I’m a new age MC. I’m like a well rounded guy. It ain’t just hood, it ain’t just suburban, I got a bit of every God damn thing. MC’s gotta become more worldly.” –Frank Nitt
Who are some people you have worked with that really stood out to you?
I’ve been lucky. Somebody like Madlib- it’s crazy, just the sheer amount of work that he does, and the way he works is crazy. And then, for the quality level to be up where it’s at, because he’ll literally like- I’ll say ‘Madlib lets meet, I need some beats’, cause we’re working on an album, like, a Madlib - Frank Nitt album right now. But that’s hard work cause getting’ him in the studio. I’ll say ‘Madlib, let me get some beats’ and you know, I’m used to Dilla beat tapes, 20 beats, 25 if you’re lucky. But he poured over those 25. Madlib will give you three CD’s with 200 beats on them. AND they’re going to have skits and everything too. Mad is crazy. He’s an evil genius.
One of my favorite MC’s ever on the planet is Busta Rhymes. I’ve always been a huge fan of Busta as an MC. It ain’t about what he’s saying, per se, even though he says some crazy shit too. I think it’s more his style, like, he’ll bend styles in one verse. He’ll have 3, 4 different flows in a verse. If you go back and listen to my verses in that context, I do the same thing. You know what I mean? Busta Rhymes can rhyme on anything, he don’t have to pass on nothing. Only thing he has to pass on is the shit he don’t like.
“I sound like I’m kinda smart a little bit” –Frank Nitt
What have you learned about you?
I just learned that life is just bigger than everything that’s in front of your face. There’s always more. You don’t start living till you realize there is always something more going on. It doesn’t matter how involved in your shit that you are, there is always something bigger, something greater than you. Keep your eyes open and keep pushing forward.
So that concludes my very interesting/informative interview with Detroit rapper Frank Nitt. I can honestly say he is one of the nerdiest, most down to earth, all around cool people I have met in the music industry, and if you haven’t yet, you should really give his music a listen, cause he has made some pretty classic shit. On that note, I’ll just leave you with these:
“I’m a little older, like, I’ve been making records for a while, and, its not that I don’t want the kids to by my records, I want that, they should, you know what I’m saying? I think they’re good records. But, I think they would lose respect for me if I’m trying to be like them and I’m the old man in the room. I ain’t 17. I ain’t 18, I ain’t even 19. Even though I may look like I’m 22. As an MC, we’ve got to grow up. If you want to keep rapping, you’ve got to own your grown man. You can’t be a grown man trying to be a kid, you’ve got to be a grown man.” –Frank Nitt
“Big shout out to Delicious Vinyl and everybody over there. . .” –Frank Nitt
“I’m on the rappers diet. . . (McDonalds)” –Frank Nitt
cool interview
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