by Garrett Caples
Luniz 10th Anniversary Special exclusive to hyphythizzgo.com
2005 marks the 10th anniversary of Operation Stackola (Noo Tribe/Virgin, 1995), the platinum debut of Oakland duo Jerold “Yukmouth” Ellis, Jr. and Garrick “Numskull” Husbands: the Luniz. Featuring fat tracks by the likes of Shock-G, DJ Fuze (both from Digital Underground), DJ Darryl, and E-A-Ski & CMT, Stackola is best known for the Tone Capone-produced “I Got 5 On It,” which a decade later remains the weed-smoking anthem of hip hop. The album also established the Luniz’s peculiar brand of outrageousness. At a time when the persona of the millionaire rapper became the norm, the Luniz portrayed themselves as small-time hustlers, usually broke, always on something. Their sense of humor, moreover, was bizarre and inimitable; who but the Luniz would begin their very first album depicting their own death, at the hands of a machine-gun-toting “playa hata” shouting “Fuck the Luniz!”? (About half-way through Stackola, on “5150,” the pair are killed again, floating up to heaven to encounter Jesus, Shock-G’zus, who promptly kicks them out, though in truth Shock would bring them into DU, both on stage and in the studio.)
But what defined the Luniz above all else was the chemistry between Yukmouth and Numskull. Friends since their early teens, the two forged a bond based on their determination to succeed in hip hop. “We was both sleeping on the park bench,” Num recalls, “because his grandma and my mom wanted us to get jobs, and we’re like ‘No, we want to be rappers.’” Such shared hardships infused the pair’s complementary vocal styles, for Yuk’s frenetic flow was a perfect match for Num’s almost talking style of rap. “In every great duo, one partner brings something the other lacks,” says Mekanix production team member Dotrix, who dj’ed for the Luniz on tour for their second album, Lunitik Muzik (1997). “Num’s flow sounds simple, though it’s actually complex, but with him it’s more what he says, rather than how. Yuk, on the other hand, is all style, like a NY rapper, more how he says it than what.” Such differences mirror the Luniz’s distinct personalities. Yukmouth, to invoke a song from his 2003 album Godzilla, is “stuntastic,” rocking jewels and platinum teeth, puffing high-grade weed, sipping Moet; Numskull, by contrast, is laid back and hood, sporting white tees with no ice, no longer smoking weed but still committed to Mickey’s malt liquor.
The history of the Luniz begins in the late ’80s when Yukmouth joined Numskull’s Brothaz Wit Potential as a non-rapping visual artist who quickly became one of the tightest rhymers in the crew. Forming a duo originally called Luni Tunz, their first break came in the early ’90s when they met Chris Hicks of C-Note Records, who was in the process of recording the debut of another Oakland sensation, Dru Down. Hicks put the Luniz in the studio with Dru, where they recorded “Rescue 911” and “Ice Cream Man,” a local underground hit. The Luniz also recorded “5 On It,” which was sufficient to land a deal with Noo Trybe, while Dru’s album, Explicit Game, was picked up by Relativity.
The international impact of “5 On It” should have paved the way for the Luniz’s future. Instead, as if presaged by their multiple deaths on Operation Stackola, the duo was dealt a series of setbacks of the career-killing kind. Hoping to replicate Stackola’s success, Noo Trybe chief Eric Brooks tried to steer the Luniz in a pop direction Yuk & Num stubbornly resisted. Lunitik Muzik thus ended up sounding like the biggest-budget street album ever recorded; lacking a pop hit, the album nonetheless went gold, though it fell short of the label’s expectations.
Industry pressures began to take their toll. Ensnared in bad deals with both Brooks and Hicks, as well as legal difficulties owing to wild behavior on tour, the Luniz began to grow apart, and when Yuk jumped at a solo offer from Rap-A-Lot, their days as a duo seemed over. Yet, though mostly leading seperate lives, the Luniz never really broke up, playing the occasional gig and making joint appearances on various projects, including each others’, as well as the West Coast Mix of P.Diddy’s “5 On It”-based “Satisfy You” (Bad Boy 2000). Gradually they renewed their bond and recorded what was to be their third album, Oakland Blaze. But new complications arose. Noo Trybe folded, leaving Hicks with the rights to the Luniz name, while Yukmouth remained under contract to Rap-A-Lot. Numskull, meanwhile, refused to do business with Rap-A-Lot, as he’d never been paid for his appearances on Yuk’s projects. As negotiations ensued, bootlegs of Blaze began selling all over Oakland, even spawning the underground hit “I’m a Raider.” After endless delays, the album was finally rushed out, with a slightly different track list, in the summer of 2002, as Silver & Black (Rap-A-Lot). Though previous bootlegging resulted in low sales, the buzz the project generated was undeniable proof fans were still hungry for the Luniz, and the Luniz could still deliver.
To celebrate the Luniz’s 10th anniversary in the industry, I touched down with both Yukmouth and Numskull. With 3 solo albums, 2 United Ghettos of America comps, and 1 duo disc with C-Bo as Thug Lordz already under his belt, Yuk is promoting All Out War, Vol. 2 (Smoke-A-Lot), the second mixtape by his crew the Regime. Num, meanwhile, is preparing his first “solo” release, Caliban, named after his own new group, who are featured on the album. While the music on each reflects their respective personalities, it’s hard not to notice that both the Regime and the Caliban have adopted camouflage and fatigues, as if, even at a distance, Yuk and Num are attuned to the same wavelength. Both are optimistic about an eventual 4th Luniz album, but only when the conditions are right. “I wanna do it for me,” Numskull says, “not because of the Luniz name.” Yukmouth agrees: “We gotta build that bond back because that bond ain’t there right now. Soon as we can vibe together as the Luniz, then we can do it.”
(part two: Yukmouth: The Regime Declares War
part three: The Mystery of Numskull)
20061022
The Luniz: 10 On It!
The Mystery of Numskull
by Garrett Caples
Luniz 10th Anniversary Special exclusive to hyphythizzgo.com
Numskull is a hard man to pin down. When I first interviewed him in March, he was staying in Sacramento, shuttling back and forth to Reno to work on Caliban—his long-awaited first solo album—with producer C-Dash. Since then, we’ve periodically touched base by phone, at Digital Underground shows, or at the Garage in East Oakland, where former Luniz dj Dotrix and partner Kenny Tweed produce tracks as Tha Mekanix. One night in September in San Francisco, I bump into Num after a DU show, during which he brought down the house with a 3-song set from Caliban, backed by his group of the same name. Thizzing on a pill as well as on the crowd’s enthusiastic response, he gives me hug and tells me the album is done. Then he pulls me aside.
“This is important; you have to put this in the interview,” he says. “I was actually born in Mississippi; my mom moved to Oakland when I was a baby. And on my birth certificate, under race, its says ‘Negro.’”
He doesn’t elaborate further, but, only about a month after Hurricane Katrina, it was easy to catch his drift. Num was born in the ’70s, well after the peak of the civil rights movement when the term fell into disuse, but his birth certificate is evidence of the kind Katrina provided in abundance, that very little in fact had changed for certain black populations in America. If this seems like an atypical concern for the rapper who sometimes records under the name Drank-A-Lot, it does give a foretaste of what Caliban has in store for listeners.
“It’s gonna be Numskull’s solo album,” he says, “but I’m introducing the group so I got ‘em on a lot of songs. The Caliban is basically artists who don’t see the world like everybody else see it. We’re not worried about this club shit. Caliban—we took it from the Taliban, so we bitter about hella shit that’s going on. In the United States and overseas, all the shit. We hate Bush. It’s a Num album. And Num don’t really give a fuck about shit.”
The logistical details behind Caliban are still in flux. One minute Num is in talks with basketball players starting labels, next it’s supposed to be Koch, next he’s releasing it himself on the internet. Even the line-up of the Caliban seems to periodically undergo reassessment, though the core seems to be former No Limit soldier Don P; former Dangerous Crew member F.M. Blue, whose own long-delayed first album, The World Is Blue (FastLife 2004), is largely produced by the Mekanix; Blue’s younger brother Cheese Whosain; and DU member Esinchill, who just dropped his own C-Dash-produced project, a duo disc with King Beef called Choice Cuts (RCeason).
One thing, however, I can say for sure: the music Num played for me during our interview in Sacramento was some of the most advanced hip hop I’ve ever heard. Both Numskull and Esinchill hooked up with the newly-thriving Reno scene through Element, a trio who spent 5 years on the road as DU’s support crew and appear on Shock-G’s solo album, Fear of a Mixed Planet (33rd Street 2004). The beats coming out of Reno these days are wildly futuristic blends of the synthetic and the organic that sound truly like nothing else in rap. Clearly they inspired Num to take his own experimental approach to the vocals; the group tracks feature incredibly tight interplay between the rappers, as opposed to the usual structure of simply trading verses. As half of one of the greatest hip hop duos of all time, Num appreciates the power of group dynamics.
“I don’t like to be alone,” he confesses. “On stage, at home, anything. So I always bring people with me wherever I go. And these cats have talent, so why not put ‘em on?”
Such an attitude goes a long way towards explaining Num’s career in the years since Lunitik Muzik, for while Yukmouth has remained highly visible and productive—preparing to release his fourth solo album, Million Dollar Mouthpiece, in 2006—Num has kept a much lower profile. This has been partly due to circumstance; though he recorded a solo album in the late ’90s for NY-based K-Tel Records, the company folded before releasing it. Yet he also freely admits, “I didn’t think I was ready to do a solo album, at all. I was still into that Luniz shit. When I came out with my own album, I wanted it to be me, not people thinking he gotta make shit like the Luniz.”
Instead of pursuing a solo career, Num spent much of the period between Muzik and 2002’s Silver & Black on the road with the steadily-touring DU. “I was the animal on tour,” he admits. “I’m talking about drugs everywhere every night, drinking. And Shock was kinda coming along with me. But then he was like, we’re not going to take you and Clee on the next one. We understood. We were wild, acting a fool. I was still living out my Luniz fantasies. But Shock told me the reason we wasn’t making good music anymore was that we were partying too much. And I appreciated him for that.”
While the rest of DU embarked on tour, Num and Clee began hanging out in LA with producer Poli Pol, prior to his association with the Black-Eyed Peas. “The guy had a studio,” Num recalls. “We were just kicking it really cause we’d brought some other cats over to work with him. We were making songs that we wanted to hear. Shit that we were going through at that time. Like, you don’t have no pussy, so we made a jack off song. Shit like that. We weren’t even thinking about doing an album together at all. But then he’s like, fuck it; let’s do a whole album.” The result of these sessions was the brilliant but hard-to-find, label-less disc Good Laaawd That’s a Lot of Drank (1999), credited to Clee and Drank-A-Lot.
“That’s a classic album,” Num says proudly. “But we tried to put it out ourselves, and we didn’t know nothing about going independent. We pressed up 5,000 units and sold all 5,000 in stores. We would get the money back from the first sales, and we would try to put it into promotion. Then we’d have no money to press it up again when everybody’s asking for it. But I’ve never heard one person say that they didn’t like that album. I actually want to rerelease it.”
The duo eventually parted on friendly terms, but not before teaming with Money B for his Poli Pol-produced single “Putcha Thang on Me,” a Bay Area hit in 1999. Based on the chops displayed on his video for Good Laaawd’s single, “Knockdiesel,” Clee, now known as Cleetis Mack, went on to direct the successful Sex in the Studio adult hip hop dvd series (Metro Entertainment). Num, meanwhile, used Good Laaawd to help launch his proteges, Hittaz on tha Payroll, whose Mekanix-produced Ghetto Storm (Hitta) was one of the hottest albums in the Bay in 2003. The association continues, as Num co-hosts Sex in the Studio’s second episode (2004) and also features in the soundtrack single, “Drank-A-Lot,” with Money B and Eddi Projex of the Hittaz. Produced by the same Fifth who portrays “The Lame” on Yukmouth’s Regime mixtape, “Drank-A-Lot” generated a buzz earlier this year from numerous spins on BET’s late-night video show Uncut.
After years of crew-oriented endeavors, Num feels he’s finally “ready” to do a solo album, especially as he’s put together a powerful new crew to do it. The quality of the music on Caliban reveals the hidden perfectionism behind Num’s slow development into a solo artist
“Before I was just doing songs just to do them, and I don’t think that that’s my best work. A lot of those songs came from like me dealing with people and they’re like, ‘Num you should put this on your album.’ And I do hella songs by myself. None of it was worthy to me. That’s why I took so long. Out of 60 songs that I have, I’ll probably pick like 7 that I like.”
“I’m trying to make a classic album,” he concludes. “I don’t want an album with 2 good songs and 16 ok songs. I want an album that’s a classic all the way through, that you can just sit down and listen to. And I got something for everybody too. I have a song for this group, but other groups’ll want to listen to that song too. That’s the type of album I want to do.”
(part one: The Luniz: 10 On It!
part two: Yukmouth: The Regime Declares War)
20061018
Esinchill cuts
by Garrett Caples
San Francisco Bay Guardian October 26, 2005
Also performing with Digital Underground Oct. 28 at the Red Devil are Esinchill and King Beef. A relentless freestyler, inventive writer, and habitual stage-diver, Esinchill has one of the tightest flows in the Bay, and if he remains Oakland's best-kept secret, it's due to lack of exposure. After a show-stealing debut on DU's Who Got the Gravy? (Jake, 1998) and extensive touring with the group, E only made a handful of guest appearances, on discs by DJ Quik, the Delinquents, and so forth, before dropping the hard-to-find Everything to Lose! (Rceason, 2002). Displaying an unexpected metaphysical streak, as well as harrowing tales of a mysterious childhood illness, Everything is an astonishingly assured album showcasing E's versatility and eagerness to expand his range.
Having secured distribution for his Rceason label, Esinchill teamed up with childhood pal King Beef for Choice Cuts, Volume One, whose advance single – the Touré-produced "Hip Hop" – began generating a buzz with East Coast radio play earlier this year. Self-designated "hip-hop mood music," Choice Cuts is a frank genre workout of club/party songs that is less ambitious than its predecessor yet in many ways more accomplished. Much credit goes to the duo's main collaborator, Reno's C-Dash, who produced 11 of its 15 tracks, providing a unity of mood absent from so many rap albums. Dash's music is a dense mixture of synthetic and organic sounds with heavy R&B leanings – so crucial is he to the project that he warrants the rare hip-hop instrumental, which fits seamlessly into the album's flow.
As performers, Esinchill and King Beef display the deep rapport of classic rap duos, egging each other on to further audacity. Smooth-voiced and heavyset, Beef makes a perfect verbal and visual foil for E's rapid-fire staccato flow and compact frame. Sharing a disdain for rap's overreliance on guns, crack, hos, and bling, E and Beef concoct distinctive songs that should give less-adventurous lyricists pause. Their material is also untainted by the misogyny endemic to rap – they might joke about the perils of hooking up with the unattractive on a song like "Wing Man," but for the most part they adopt the Romeo approach, if only out of romantic self-interest. "It's just my attitude and gratitude and respect to a queen, and when respect exudes, then great sex ensues," E raps on "Mojo."
With a second single, "If You Want It," on the way, Esinchill and Beef are busy promoting Choice Cuts, as well as working in the studio on E's next solo album, Vigilantism, and Beef's first, The Swing Party, both tentatively slated for release next year on Rceason. Also look for Esinchill to appear on several cuts off Caliban, the long-awaited solo album from Numskull of the Luniz.