The Nextmen are amongst the UK’s most well known and respected Hip-Hop producers. Brad Baloo and Dom Search met whilst still at school in Cambridgeshire. Their first venture was back in 1996, a remix of London Posse’s classic ‘Style’ track. This would launch them onto bigger and better things. Signed to Scenario records (Ed Pitt’s label) they released their first album nearly 3 years ago, entitled ‘Amongst the Madness’, an album which has marked the UK scene ever since leaving in its trail many a classic hits. Since then the boys have been more than busy touring with the likes of Eminem and High & Mighty as well as remixing for a slew of different artists from Morcheeba and Groove Armada via The Pharcyde and Public Enemy. They have also been very busy with their residency at the Embassy in Islington (as part of the infamous Friends and Family nights) and also their appearances at various big venues and clubs, such as Fabric. All this work has led to their second album, called “Get over it”, released in July. In advance of that, the boys were kind enough to let a French hip-hop head into their house to question them on the new album, their recent work and their future as one of the leading production teams in UK Hip-Hop. The following was caught on tape.
Since the first album you’ve been doing a lot of production remix wise, you did the soundtrack to the Hip-Hop years documentary, you’ve been carrying your sound to other projects (Battlecreek and a slew of remixes and one off projects). Can you tell us a bit more about what was involved in that work?
Dom: I think when the first album came out, it was more of a surprise to people because it came out of nowhere. There was a couple of other production crews around in the UK, like Mark B and the Creators, flying the flag for UK production, urban music production, hip-hop production. And our album came out of nowhere and slapped a lot of people in the face. Like “Oh my god! What’s this? This is good”. And we got a really good response from it. And the sound was particular to us, I think, it had this kind of punchy, still an independent hip-hop feel, but punchy, rhythmically tuff sound to it and it just seemed to work on dancefloors and music clubs. So I think the reason why we got a lot of remixes sent to us is because people wanted a piece of that sound. And it all went off, you know, we ended up doing Public Enemy, Morcheeba, Groove Armada, loads of stuff. Dynamic syncopation w/ Mass Influence, Rae & Christian and the Pharcyde, loads of stuff that was really good but I think it was probably a year into remixing that Brad and I suddenly realised we could make these sort of beats standing on our head. And we decided to change things up a bit. And since then we have kinda been evolving the sound, rehoning it, and we are, I guess, on the corner at the moment. But we are feeling more confident about a new sound which is more futuristic and different.
Regarding the remixes, do you guys have a formula you try to apply or do you approach it all differently depending on what it is and who it’s for?
Dom: I think that you can approach remixing with your own formula, and we have done that in the past but it’s really a bit lazy to do that, so we are not doing that anymore. But yes we have done that in the past, approach it like, let’s get the beat ready, this will suit this. And to be honest sometimes it’s not just down to us, sometimes you remix for someone and you push the boundaries a bit and then they go “oh no! We wanted a Nextmen remix, we wanted your sound!”
Brad: You are in a bit of a difficult position then…
Dom: then it’s a bit difficult, because they want something from you and you’re trying to show them you can do other things and so obviously the only outlet for your new stuff is your own. Which is what we are doing now with the new album, which is a different style.
Brad: which is why I think it’s good that you’ll see a development in our new album and a development in the sound. Which means that the next load of work we’ll get after the album, people will be happy for us to experiment more because this album is a lot wider and a lot more varied. But the stuff that we’re working on now is completely different from the new album, which hasn’t even come out yet. I think the idea is to push yourself and try and learn new disciplines and learn how to do new stuff
You guys are always evolving then? No stagnation?
Brad: Just do different stuff. If we could change the production styles almost completely with every album that would be brilliant.
Dom: but with a connection between them…
Brad: there’s always gonna be one.
Dom: The thing is, there is a difference between beatmakers and producers. We are producers. Music producers, people say hip-hop producers because we’ve made 90% hip-hop but we’re definitely going to do other stuff. I want to work in songs, we write songs, we play the guitar, keyboards and that’s all gonna come into the frame.
You don’t just base yourselves around beats and samples?
Dom: We don’t just dig for beats, we write music so it doesn’t have to be hip-hop. And I’m glad about that because we want to show people what we can do.
Hip-hop as a genre is wide and broad enough (in terms of production styles) to allow people like you to do that.
Dom: that’s true
Lastly, about the Public Enemy remix of “Do you wanna go our way”. How was it working for such a famous band, with such a powerful hip-hop heritage and history? It must have been a buzz?
Brad: Yeah it was definitely a buzz. Getting an acapella of Chuck D is very exciting, when the vocal just turns up and you’ve got it.
Dom: Tell him about Chuck D getting in contact…
Brad: Well yeah, Chuck D got in contact with us recently, through his manager, and he wants to put the remix out on his Internet label (the 12” was never officially released, only on some limited bootlegs). And so we had to send him an mp3 of it so he could check it out again, and his manager got back to us saying “yeah that’s cool”, and I asked him “can we do another track with him?” and he’s gonna have a meeting with him and ask him if he wants to do it. But he is coming over in April for a show at the Astoria. So we could grab him and get him in the studio.
Dom: that’s what it’s about, once you meet them sometimes you can just grab them. That would be incredible to do.
It’d be amazing to work with Chuck D on a brand new track!
Brad: it was really exciting for us to be involved with remixing all these people and groups we’ve really liked growing up, people like Blackalicious, Pharcyde, Public Enemy. But now looking at the work that we’re gonna get after this album, I’m not really that excited about doing remixes, I’m more excited about getting production work from doing the album. To just do a remix is cool but to find an artist and make their whole album or some whole tracks for them is what it’s about now.
Dom: That’s what we’re good at, putting an album together
Giving a sound to an artist…
Dom: yeah it doesn’t matter if they are a band or just a singer or MC
Brad: I think that’s what we are gonna try and push for, because we’ll be in more of a position where people may offer us a remix of a project and we can step in and say “look instead of us doing a remix of the project why don’t you give us the project”. Let us produce it and we’ll do it probably better.
It’s good when you are in position, after enough work, where you don’t have to settle for just any type of production work.
Dom: but there is a danger in remixing, as well, which is that you give away loads of your creativity and good stuff. Creativity is final, it doesn’t last forever. There is a couple of beats, namely the one we did for Encore (called ‘Love and Hate’), which is probably, for me anyway, one of the best beat we’ve ever made. And when it goes on a remix which just comes out on some small label, which is great but also means that the beat doesn’t really get the audience it could have got (in certain cases).
Brad: Pharcyde, the remix we did for that is one of the best as well I think
Dom: yeah but that got what it deserved as it sold over 30,000 copies which is more than what our first album sold! (Rae & Christian feat. The Pharcyde is the remix in question). It came out on four releases and sold 30,000 copies. And we got about 10 pence for it (laughter all around). But we’re not bitter, they’re friends of ours so that’s cool
Brad: we did a swap with them, they did a remix for us and we did one for them, it just happened to be so huge
Excellent. So have you found it difficult to go back in the studio after this long break for your new album? Obviously the work you’ve been doing has helped towards that as you’ve said. Any problems with reaching this new sound?
Brad: well one of the reasons it’s taken so long is because you do your record and then you have to do all the promotion, and then you get 8 million remixes. So you don’t even think about making the next record because you’re just doing mixes and they kinda take your whole time. So it’s taken us, by the time it comes out, literally three years to the day since our fist album came out.
Dom: and we don’t want to do that again. We want the third album out by the beginning of next year because I believe that there is, you know, at least 5 or 6 albums in the Nextmen. I think an album a year is quite feasible, it’s in our range. At the end of the day if you sit around and say “we make brilliant music” but you never put it out, it’s a bit pointless!
Can you tell us more about how this new sound has evolved? Your first album was really quite happy, with funky basslines and beats that were very reminiscent of mid 90’s Hip-Hop. Is the new sound still close to your first album or have you just flipped the switch?
Brad: It’s really different, not like the first album anymore. That type of sound (from the first album) is cool because we grew up listening to hip-hop and certain people from America influenced us, we learned how to make beats that way. So obviously our first album sounded a lot like those tracks that influenced us: Pete Rock, Premier and such. But that’s really a process that you have to go through, and it’s a process that most people end up staying in.
You have to imitate a certain amount of stuff in order to innovate, that’s how a lot of people learn.
Brad: so this is more us getting to grips with our own kind of hip-hop. Making it slightly more British and stuff. I mean, the first one definitely had our sound but it also had elements of learning in it
So would you say your sound has matured then? You’ve reached a more mature level?
Dom: Tell me what you think of this, would you have said this was the Nextmen?
Dom plays me some new tracks. One with MC Dynamite, one with Rodney P/Dynamite/Cutty Ranks and a Cutty Ranks solo and a Rodney P solo. All the tracks are decidedly different from their previous stuff. The sound comes across rawer but also more mature than their first outing. You can hear that they have strayed away from the more classic hip-hop production that marks so much of what comes out. The sound is definitely more diverse and eclectic, but still retains a lot of punch. It’s still head nodding Hip-Hop, just not as typical as the rest of what you hear, which I think is really good. There’s definitely more influences present in their production, it’s much more dense but also more rewarding as an aural experience. The Mcing is on point again and the choice of MCs seems to work well on every track, specially the tracks with Rodney P. They even have J-Live on one track which bodes well for the new album. They also play me a song featuring Aim’s girlfriend, which sounds really good and has an amazing vocal. This is an example of the work they want to do outside of normal hip-hop production.
I think these days we sit down when we make a beat and right from the start, from the first sample, bassline or guitar riff, and we think “right let’s make this a bit different and give it something else”, right from the start. And if it’s not going that way, we just toss it away. I think that’s the best way to work, if you’re unsure that something can work or not, put it in straight away and continue with it if it’s working. And if something is going a bit too independent, kinda normal “boom, gap ah boom boom gap”, we just get rid of it. And there’s nothing wrong with that type of beat, there are excellent examples of beats that are like that and we don’t mind making them but at the moment we’re honing a new sound, so we are deliberately putting effort into making it sound a bit more different.
As a duo, do you guys work in a special way? Do you split the work? Do you fight?
Dom: We bounce off each other don’t we? We have different ways of working but there is a big overlap.
Brad: we still disagree on an enormous amount though
Dom: we disagree about a lot
Brad: about virtually everything…
Dom: [pisses himself], not virtually everything !…
Brad: we disagree on quite a lot of stuff and I think that’s why it ends sounding like it does. Because we often pull it into opposite directions.
Dom: I think you get that in any duo
Brad: I think quite often when you get a duo, you have 2 people that have very different roles. One person will be a sort of verbal ideas person who will sit back and give ideas and the other person will often put that into practice technically
Dom: but we’re not like that
Brad: no we’re not like that because we both do exactly the same things. We can both make a beat and…
Dom: we could both easily make a Nextmen track on our own because we both do everything.
Would you say the fact that you balance each other as producers and have a sort of harmony in your work makes a difference to the sounds you produce?
Dom: I think it does make a difference, I mean we might disagree and stuff but it’s like chipping away at something until it’s right and you’re both happy with it.
Brad: it definitely makes it sound like us because of our interaction.
Dom: I don’t think we disagree on everything. I’ll tell you what we never disagree on: if something is glaringly good, just blatantly good to have in a record, we don’t disagree on it. If there is something that’s alright, but the other one doesn’t like it then we work on it till it’s fine or we bin it.
Now about the MCs for the new album. Obviously having heard some of the tracks, you have got a varied range of lyricists again. How did you work with them? Did they come in, take a beat and go away? Or did you get acapellas? Did you work together?
Dom: Usually they come round and hear a beat, and then they take it away. Sometimes if we have a concept for a track, like the first track I played (featuring MC Dynamite), we will do it differently because it evolves from the concept. In the case of that track, we were just actually playing video games, as we both like games and Brad has got an emulator on his computer with loads of old 80’s games. We were going through all the games and I spotted a melody in the soundtrack to “Xevious”, and I was like: “wait, we should make a beat out of that!”. And Dynamite came and heard the very beginnings of the beat, which just went “douloulouloudoulou” (sounds better than it reads), and it was just a nice thing to use and we could hear the tempo in it. And he was like “if you make a beat out of that then I want to hear it”. He went away and we spent a couple of days on it and we played it to him and he was like “I’m in”. “I’ll do a rhyme about video games”, because he’s a real video game head. Concepts give rise to the most interesting, the most remarkable tracks and we’re gonna do more of that. We’ve had enough of people coming round here and just rapping over a beat and going away. And that’s partly our fault as well and that’s how most people make hip-hop records. And it can be a really good idea to do it like that, because you get this kind of natural feeling. But at the end of the day if you wanna do something different you gotta come up with ideas.
Brad: a lot of the records that have made a difference, that make you take note, were the ones that have a vision and a concept to them. And a as a result that gives people a lot to write about, and in turn it makes people excited about it. It’s sort of like The Streets, it’s all about his concept behind what he does, giving people loads to write about. Gorillaz is another example of that, a conceptual band and the artwork as well. And they are some of the only examples of more underground, leftfield music that’s being sort of massive. And it’s actually slipped through the net because of the concept.
Let me bring back the whole fuss about your first album surrounding the choice of MCs. Some of the press and people in the industry were saying at the time that you chose US MCs over UK ones and that it wasn’t really on (there was a lof of fuss a few years back about not backing the UK to the fullest, The Creators album was also criticised). Do you think 3 years later things have changed and that the UK scene has more to offer in terms of MCs than it did back then?
Brad: I think there was a period when people were like “don’t work with American MCs, work with UK” and I think now it’s got to the point where people don’t mind again because they have realized that there aren’t that many good UK hip-hop MCs!.
Dom: because there aren’t
Brad: and working with Americans sometimes is just a good idea.
Dom: we work with MCs because they are good not because of where they are from. It sounds like a bit of a cop out, but it’s always been our argument.
I think that’s fair because if I look at the French scene, they have never been afraid to cooperate with other countries and exchange styles whithin hip-hop. As you say if it sounds good then that’s all that matters. It’s a shame some people feel a need to support artists at the expanse of quality in the work.
Dom: but the French scene has always been healthier than the English one.
Yeah but that’s more because the UK scene will always be compared with the states because you speak English, which is a shame. You have that Big Brother type thing going on with the Hip-Hop scene in the states. The French have their own language to express themselves which makes all the difference.
Are there any musicians or artists you haven’t worked with yet that you would like to work with in the future?
Dom: Roots Manuva. I know it’s an obvious choice but we’re both big fans of his and we know that he likes our stuff. So it’s been a shame that we haven’t worked together yet. Moving on to the MC topic again, the producer/album thing is extremely hard to do because you haven’t got someone in your band who can rap and sing, you have to go and get them. And if they are worth their salt they are probably doing their own project. You have to prize them away for a few days, and get a really good performance out of that. Sometimes that works and sometimes management can get in the way, they’ll say “oh I don’t want him/her to feature”.
Brad: there is a huge problem with that in this country. Management companies have this really crazy idea that featurings are a bad thing. So if someone is bigger or has a big backing straight away they are protected by this management that are like “oh no they don’t do features”. And that’s a terrible idea, because if you look at the US market and the way everyone features on everyone else’s albums, that’s a great way to promote new artists. Bring them through. And say “look he’s on this track, this person who is well respected likes his stuff”, what do you think of it, kinda thing. And it’s stupid not to do that more in the UK.
Dom: for some reason people are very precious
Brad: it’s just the UK really (laughter).
Dom: that’s what I mean, for some reason in the UK if someone gets any kind of fame or recognition they want to protect it. Management is saying they are the best but you can’t work with them, which is really bad. And also part of the reason why there is isn’t better urban music over here.
Brad: it ends up with no one working on any separate projects. And I remember being young (Dom cracks himself at that point), and buying hip-hop records and seeing like a Pete Rock remix of a Public Enemy track and it had C.L Smooth on it. And it was like “woah!”, now it’s Sean Paul and Busta Rhymes and whoever with whoever and it’s still exciting, what’s that going to be like. It’s a bit like that Dr Dre and Rolling Stones track (cover of “I miss you”, I think), it’s really good.
It’s like the Judgement Day album and the rock/rap fusion period in the 90’s, which made both genres more interesting to different audiences as well. Now about the single you released last year with Mystro and Braintax (called The Next Trend). That was an interesting record for many people and also it was your first release in a while. Where did the concepts for the songs come from?
Brad: it was their idea. Mystro’s whole thing is that he wants to rap about parties, his new tune on the lowlife album (Low Life Presents Food, out now) is the second part to the tune on this 12” we released last year, where he raps about this place where everything is free, you order spliffs at the bar and get massages. He’s like obsessed with that.
Dom: which is a good thing to be obsessed about.
Brad: I thought that those two beats on that record were the worst we’ve ever made. We were in the middle of a very bad timing,
You just had to put it out?
Dom: no we thought it was alright but then within hours we were like “shit, that was crap.”
Brad: I thought their rapping performances were really good. It was our fault.
Dom: in fact when we did those tracks they made us realize and change a bit didn’t they? When we thought about those tracks we realised we didn’t want to do anymore of that. We thought right, drawing board, not erasing it but rethinking our approach, which has led to our new stuff.
Brad: to be honest we were still working the same way we worked on our first album when we made those tracks. But because it was almost like there wasn’t the love there anymore or the excitement about making those beats, and that ended being reflected in the beats and what they sounded like. It’s a shame really because those vocals were good.
Dom: the mixing didn’t help either.
Brad: we didn’t mix it very well and it didn’t come out as good as it should have.
Dom: it could have been stronger I think. Anyway that was our lowest point production wise.
Oh well I put my foot in it then. Let’s move on to your mixtape that came out last year, “Listen and Lose weight with the Nextmen”, how did you come about doing something like that?
Dom: Everyone seems to like that. It’s really just one of our sets. What I mean is that if you came down to our residency you would hear a similar type of era/range of music, beats.
You can tell that when you see you guys playing, it reflects your influences.
Dom: the only thing it didn’t touch is drum n bass, because we play a bit of that. And we play a bit of big beat and broken beat as well, and it wasn’t in this mixtape. But we will probably do another one soon, and it will have another slice of one of our sets.
Brad: all the lose weight thing on that tape, is from this motivational record a friend of ours bought us from New Zealand. And all the cover art is also taken from that. And that record is called “Listen and Lose.”(if you haven’t heard the mixtape, then think along the lines of The Lessons, Steinsky-esque cut ups and funny little snippets of motivational talk over beats and bootlegs)
Dom: and it’s got all the good bootlegs on it as well.
How do you guys regard the cut and paste aesthetic of something like that?
Dom: it’s really like we all used to make mixtapes. Pause tapes as you called them, and you put your favorite tracks on it. Obviously the technology now allows you to cut and paste it better, with more tracks.
Yeah, how did you do the bootleg parts of the mix, did you mix them through computers or on the decks? Or both together?
Dom: We mix it and then we process it. We mix as if we would mix it live, “is that in time or not”. Then record it and put it on top of the track. So it’s a bit of both.
Brad: a couple of the weird, little bootlegs that we have done and put out are more involved than the ones on the mixtape. Like we did a thing with Brandy, called “What about us?”, where we made the beat.
Dom: we took some different samples and made a beat out of that.
That mix really reflects the music you play out in clubs. I have noticed you guys like to play different genres which is good, as too often you go to clubs where it’s just about one genre, which can become boring.
Dom: yeah it can be good but it can be bad as well. Because we get booked to play at eclectic clubs, which are easily the best, and straight up “hip-hop cap” clubs as well. And of course then sometimes they don’t understand. They want you to play really murky independent hip-hop. And if you don’t they start looking at you funny. We are not going to play those clubs anymore because they are not us. And that’s not us turning our back on hip-hop, it’s just us being pissed off with people being so narrow minded. I don’t think there is many of these clubs left.
Brad: there is still one in every city. There is a circuit of them. But somewhere like Rawganics (Cambridge’s leading Hip-Hop night) we need to play of nice set of hip-hop but the vibe is really good. It’s not as narrow minded, it’s closer to what it should be about.
What about the UK scene? Do you think it’s evolved in the last few years and reached some kind of maturity? It’s a more structured scene with a better chance of making an impact?
Dom: Well in a sense it’s matured, but it’s really missing something important in its history. Early US hip-hop had a huge impact, and then you had the whole mid 90’s era where the production changed and things were different, but still impacted on Hip-Hop. And then after that, mid to late 90’s it got more jiggy, and the whole thing blew up on the mainstream. In the UK we haven’t followed the same development. We have gone from underground, murky hip-hop beats to jiggy, upbeat stuff without anything in between. Without a natural progression. And I think the jiggy style doesn’t suit UK production styles.
But the UK does have it’s own sound as well, something that is rooted in its musical heritage. It comes from the country being at the center of so many musical influences that have come through it and left their mark on UK production?
Dom: UK beats have that nice dubby, raggae feel to them sometimes, which is nice. Roots manuva for example is incredibly British in both his production and his lyrics. Rodney P is a legend, and is one of the best MCs around and he carries this UK style with him, which is important. Harry Love (part of Kung-Fu and ex-Scratch Perverts), is also one of the best up-and-coming producers in the UK, with his own style. And they all do things differently but with the same UK sound to it.
What about getting your stuff remixed?
Brad: We rarely get our stuff remixed by other people and this time we are gonna try and do something about that. We want to experiment with other genres and styles.
Dom: I would like for us to be in a shop under two different categories. DnB, breakbeat, broken beat will definitly be included in the remixes. It’s about good music, it’s universal.
Have you guys been around Europe touring and what do you think of the various music and Hip-Hop scenes around?
Dom: We’ve been around Europe a bit. France, Belgium, Ireland. To me the scenes are all similar in a lot of ways. We played at straight up hip-hop clubs, and it’s the same feeling as the UK. It’s nice to be in other countries and see people enjoy your stuff. We are looking forward to touring the new album in Europe, and Australia as well as maybe the US.
Talking about the states, can you tell me more about the fact that “Break the Mould” (featuring Grap Luva), off your first album, made a big impact over there, getting regular rotation on Bobitto’s radio show in NY? Were you surprised to get support from the States?
Dom: Well it was really nice. When we went over there, Fat Beats were really good to us, they put posters all over the shops and were really pushing the album. A friend of ours told us that he went to LA and Cut Chemist played ‘Turn it up a Little’ (again from their first album) and people where really loving it. We don’t really expect support from the states but if it happens we’re happy to take it. We’ve had interest in the new album, so we’ll see what happens.
What about turntablism? I know you judge the DMCs and all. What is your view of the artform and its practitioners?
Dom: Well I agree that they are musicians in their own rights. We’ve done the DMC for 4 years now. It is the same atmosphere as a jazz club gig, when you see someone really good. If it’s done well, it can be excellent and really impressive. But these days there are a lot of people who aren’t that good but come out with it. Everyone has a pair of decks at home these days.
Brad: I don’t think there has been any innovations in a few years. There was a period in like 95-99 when it went mad in innovations and new techniques, but it’s now quieted down. You had Q-Bert, Babu and all the others coming out with mad skills. What is there that’s new now? Q-Bert is the only one, for me, that makes the really different stuff that catches your ear, like mad insane noises that make you think “yeah!”.
Dom: We can appreciate it a lot but for example judging the finals of the DMC can be really hard, and on top of that none of my friends ever want to come down there anymore! When I think about it, stuff like what the Scratch Perverts do is amazing! Their regular gigs at Fabric are really good. The All Star-Beatdown they organised with the Allies last year was one of the best turntablist showcase I have ever seen. There wasn’t any DJ there that wasn’t strictly amazing. The French really tore it up both there and at the DMCs. They showed that it can still be an innovating artform even if some of it is getting stagnant.
Brad: I really think that straight up scratching in turntablism has reached its peak and hasn’t really evolved in a while. There is still stuff like beat juggling and others but scratching I think can’t really be innovated anymore as such. 4 bar solo scratches are ok but after that it becomes boring again. If it isn’t Q-Bert, I don’t bother and even then a few minutes every year is enough for me.
Are there any tunes over the last year that you’ve been impressed by and upcoming ones you’re looking forward to?
Both: The new Nas is impressive as well as Missy Elliot. Nas’ new album shows him really back to form and the production on both that and Missy Elliot is really good. ‘Made you Look’ (Nas’ new single) is amazing in production and yet so simple. Nas is a good lyricist and it was about time he got a decent record out There is a new Method Man 12” and a new Outcast album out that we are looking forward to. Erikah Badu’s ‘Humble Mumble’ is also a heavy track.
What about the Neptunes?
Yeah they are good at making beats and not afraid of venturing outside of the conventional Hip-Hop production ethics. That’s good and interesting.
What about RJD2?
He’s his own thing. It’s good what he does, kinda like Shadow and Moby in my opinion. His choice of samples and chops is interesting, but I think it’s still traditional. We’re also feeling Harmonic 33, which are amazing and not just straight up Hip-Hop. We are really looking forward to branching out more than before into other genres as we said before. We’re gonna go into drum n bass, breakbeat, change everything around but it’s still got to be good!
Any last words?
Dom: where are all the naked South American women?
Brad: Potato!…Oh and Common’s lost his mind! (Brad proceeds to explain why Erikah Badu has some kind of mad influence on her men and therefore turns them into weird freaks, such as the guy from Outcast she used to be married to and who is gone all weird and Common, her new boyfriend who’s also lost it).
The Nextmen’s ‘Get Over It’ LP is out on the 28th of July. There’s 7″s and 12″s floating around too, check Scenario for mo’ info.
Thanks to the Nextmen and Dave@Scenario for the help & support…